Lozz196

Def, nowadays it seems bands are either on the mega bucks level or having to do day jobs as well as music.

If I had Sky I would, congrats, it’s something we’d love to do, especially with our song Football Beer & Punk Rock.

I used to rotate my two white/maple Precisions but since one took a knock on the neck I’ve used that one only figuring why get both knackered. I also use my black/maple Precision solely for recording, and when I gig in Hamburg later on this year will use my Vintage V4 Precision. So using 3 of 6, albeit 2 sparingly. Erm, can’t count, make that 3 of 5 ☺️

I’ve found that in order for my Precisions to really cut through the mix I boost the upper mids at around 3kHz. The Sansamp really scoops mids so is removing a lot of the main area of the Precisions sound, may be why you find it’s not cutting through so well in comparison to your other basses.

Look up efoam online, I’ve had them do a few things for me and they’re very good.

Most certainly do, the best kept secret for bassists out there seeing as it`s not a pedal promoted for bass, more multi-instrument. That clank really works and definitely helps in not needing subs for the lows.

The Stranglers AND Hanoi Rocks AND Big Country, all on ONE DAY! Man I curse my younger self for not going to more gigs.

The only difference I know of are the new Fender V ones, I’ve side ceramic one side alnico (no idea which, can’t remember) as each is meant to compliment the respective strings they sit under better.

I’m in the Duff camp, so probably makes the hearing via monitors easier for a start, as well as giving the actual PA speakers less of a task to deal with.

I’d look out for a used Player series, I’ve been very impressed with my Player Precision so can only assume that the Jazzes are equally great.

I don’t warm up specifically but do flex my fingers a fair bit before going on stage. I never knew I did it, it was the singer in my last band that noticed it and mentioned how professional he thought it was.

Well I generally only play places with proper big FOH so couldn`t really say. I think it would be a risky move with just a vocal PA.

On Friday, the provided cab wasn’t working so just went straight to FOH/monitors from my trusty Para Driver. In all honesty if I could rely on monitoring I’d do this all the time, made pretty much no difference to me.

On Friday, the provided cab wasn’t working so just went straight to FOH/monitors from my trusty Para Driver. In all honesty if I could rely on monitoring I’d do this all the time, made pretty much no difference to me.

I have to say that in my experience of connecting the same amp up to an array of different cabs the 410s, irrespective of make, have been louder than any of the 115s. Or before the scientists pull that apart, it’s been easier to hear when bass & amp are connected to the 410s - could that be frequencies rather than volume? I’ve no idea, but can tell when something is easier to hear.

Just shows doesn’t it, what the hands and ears decide on should trump what the eyes have thought looks alright. On a similar vein I tried out one of the lower range Musicman Stingrays at the weekend, no idea which as they’re flitting from one model to another and I can’t keep up, but back in track it looked great but I thought it felt and sounded awful.

I like, though don’t use it myself, chorus on bass intros. Check out Down on The Farm by Guns N Roses, it’s s great cover of a fine UK Subs song but Duffs bass intro, wow, just wow.

Did a great couple of gigs over the weekend: Fri, Punks Against Cancer at The Mulberry Tavern, Sheffield. Was a sweat bath in there, the bass speaker cab didn’t work (I had trusty Para Driver to help out), couldn’t hear much through the monitors but it was a good gig, and a worthy cause which we’re always happy to play. Sat, The Boulevard in Wigan. An all dayer so some (most?) of the audience had indulged in liquid shall we say. We were headlining and the gig was amazing, bodies flying everywhere (one guys head got split open quite badly during the band before, but he was back for our set) people up on stage, the general chaos of the gigs we do in the North West. Afterwards pretty much the whole audience came up to us and shook hands/hugged us and said how great it was. Pretty humbling really, we’re three blokes in our 50s making a racket, but it’s really nice to see the hard work we put in paying off. Also made some good merch sales, all of which go back into the band, furthering our opportunities.

I watched a bit of the Foos, as always a polished energetic performance, with Pat Smear still looking like a kid in a sweet shop. Good sound too, unlike most BBC shows a good bass presence.

Look at it as part of being in a band and something else that you have to practice at to get comfortable with. I’m sure that - apart from singists, as it’s all about them if course - that many musicians aren’t that comfortable in front of the camera. It’s not something that I was good with to be honest but acknowledged that it’s something I had to work at and now it doesn’t phase me.

I see what you mean, Blue, and think there’s def something to think about there, is it the gigs themselves or something deeper routes. After all, if musicians don’t like gigging why join a gigging band?

I can’t see that it will, at a recent festival I used my wireless kit through an Ampeg SVT set up with no issues.

Yeah the tone-shape button on the RM is pretty much an ABM switch. If you use the pre shape on your ABM then this feature on the RM gets you almost exactly the same sound.

Every now and then I look at my fretboard, but due to strap length it’s just a cursory nod to the left, no need to angle the bass at all. I find the need to do this more when we’ve got really bright stage lights coming straight into the eyeballs. It’s probably more for reassurance than anything, and it’s also why I switched to maple fretboards as found rosewood ones too difficult to see on such stages.