Lozz196

Yeah think I’m gonna bite the bullet and use it. Looking forward to Sat, should be a good evening/gig, great line up.

As you`ve said that you`re not keen on chubber-necks, check out the new Player Precisions, much slimmer depth necks on these. I`ve just scored one, bought it primarily as my bass for flying with (so as no damage to expensive, no longer produced range of US ones that I like), but have been so knocked out with how good it is and how comfortable it is to play I`ve given myself a real question by buying this bass. As in, do I just move on my more expensive US ones and buy another Player? Gonna use it for the next month exclusively to make my decision, as gigging/rehearsing rather than using at home is the leader on my basses, that`s how I find out what suits, but whatever conclusion I come to I`d recommend taking a look at this range.

Great basses, had one of these as my first proper bass - cost £450 way back in 1987 which was over a months salary for me. Worth it though, gigged it regularly for the next 4 years without backup and it never let me down.

Now that’s cheating - but to be applauded!

It appears that she wants to be “taken seriously”. Maybe it’s not that at all and there’s another reason, one which we may never know, but until then, well serious Vic she will remain.

Def not, I know that due to only playing gigs with FOH that a couple of 112s would be fine for my on-stage sound however I just can’t do it so have a 410 (plus a 210 for bigger gigs/stages and videos). It might seem daft, but on the originals scene many of the punters see a band using little amps and think that they aren’t a “proper” band. If you want them to take you seriously you have to play to their conceptions, no matter that we all know that a Class D amp/Barefaced Compact for us and a Fender Champ for the guitarist is all that’s actually needed.

That’s my set-up, with an ABM210 EVO IV to add in for big gigs and posey video shoots. I agree, the EVO IV range in general is a step up.

That’s a very good point Chris, and probably why it’s so easy to soundcheck us - the soundman probably swiftly realises there’s little point in polishing a trud.

Being a 3 piece our needs are pretty simple - me & the drummer both need to hear the lead guitarist/singer as most of our songs are started by him. I need to hear my own vox so I don’t go off key, and we never have on-stage sound louder than the sound of the kit unamplified, so I can always hear the drums. A soundcheck for us can take as long as playing two whole songs but that’s if we’re particularly picky that day.......

Yeah we often get asked if we have day jobs or asked what its like to be in a professional band. I suppose it’s down to the workload of the band, we do a lot of gigs all over the country, plus Europe. Probably the assumption is how can we manage that and be in regular employment.

I still find it strange that people want to have their photo taken with me/the band, or want us to sign merch they’ve bought. We’re 3 grumpy middle aged blokes with faces like gorillas derrières, and we all have real jobs so although I’m now used to it happening I’m still not sure as to why.

Quality, had almost forgotten that track, and yes, Bruce def on fine form.

Love my ABM600, have had a fair few Ashdown amps but the 600 tops them all. And my backup RM500 EVO-II is no slouch either. For real big stages the ABM shines through and has a real presence to it that is very near the all-valvers, but for regular sized venues the RM is plenty good enough, never feels like a compromise.

Looks great and a very good, practical idea.

Agree, but they’ve got “the name” which seems to be how music works, irrespective of genre. But, canny move for JG, she can tap into a lot of people through these supports, people who should be able to see her talent, then hopefully they’ll become fans of hers as well.

It was slightly bemusing to say the least. Am not sure but think he saw that they were a skinhead band and made his own incorrect assumptions, as many do with skinheads.

Nice one, cheers Gary

Cheers, much appreciated

What do you use for polishing the frets, Skank? Something I`ve never done, and have to admit not really needed to yet, but like to be prepared.

You`d have loved one guy that was doing the sound at one of the gigs we did then Ian. For the main band, whenever they asked if he could turn something up/put something in the monitors the response was a dead-pan: No. Have to admit they sounded great out front, but how one of them didn`t take their guitar to the top of his head I don`t know.

All good comments so far, for me using a DI/preamp pedal means that if I need to make any onstage adjustments - which if using an unfamiliar rig is possible and invariably means lowering the volume - I can without affecting the sound out front. Most sound men seem to like working with a Sansamp as well, which helps. Some sound men we’ve worked with have wanted a really low onstage volume yet having heard the sound of the other bands it’s been clear they know exactly what they’re doing. At this point being well rehearsed comes into its own, to me bands that aren’t well rehearsed can suffer but if you know what you’re doing this is easy to overcome.

Used to do Muscle Museum in a previous band. Great song and great fun to play bass line.

Whenever I change strings I tighten all screws/nuts on bridge, tuners, neck, strap buttons. I also clean the fretboard making sure there’s no gunk left on it.

Nice guitar, in the classic 335 colour, congrats.

Or Marshall DSL5 - I`ve been very impressed by it, even with the power-shift down to 0.5watts it`s plenty loud enough for home use, to the point where I`m not able to have it on full volume. Not bad for half a watt!