Lozz196

Rock may have nothing more to say but that hasn’t stopped people asking to hear it again. Look at Guns N Roses doing their Not in This Lifetime tour. And many eagerly awaiting the anticipated getting back together of Brian Johnson and AC/DC. Sure, nothing new but so what, if fans of great live music want to hear it, well that’s the important thing.

And watching/listening to George Michael singing for Queen, well they should have just handed him a blank cheque and told him the job was his if he wanted it.

As above, the AIDS benefit gig from 1992 on Pick TV at the moment , many different guest vocalists singing Queens best but as well as all that a great chance to listen to John Deacons effortless and sublime bass playing.

Not sure about at present but for the last whoever knows how long he’s played an MIJ 57 Precision.

Currently at the recording studio this weekend and they have a Squier Affinity Tele there which is quite simply one of the nicest guitars to play that I’ve ever picked up.

Had the pleasure of being on the same TV show as them a few years back. As a big fan of Bruce’s work it was a real “I’m not worthy” moment, but he was a really nice even though he must have been able to see my unworthiness.

Given that you’ve tried all kinds of rounds and killed them quickly I’d look at the Cobalt Flats as suggested. If they don’t have enough top end I’d then look at the Thomann own brand rounds, as they are very reasonably priced. If killing strings regularly, may as well make it as cost effective as possible.

Having briefly heard some drill music I think at 53 I’m the right side of 50

I’ll echo that, I had a Ray34 as backup to a US Ray and there really was so little difference between them it was quite amazing.

I’ve had the Aguilar Tonehammer and a Little Mark Tube 500. The Aggie I found to be like a slightly more modern sounding Ampeg. It had buckets of gain if required, and could be made to sound very vintagey. It could also do some very angry sounds. Not being a funk player I couldn’t comment too much, but would have thought that maybe the highs might not be at a high enough frequency for slap. The LMT I thought just set flat suited a traditional Precision tone really well. I always had the tube on full, it didn’t really seem to add any traditional gain or drive, just a smidging of hair around the sound which was only noticeable if then turned down - the amp then sounded sterile in comparison. Strange really. Using the filters enabled a good variety of sounds. I actually went from Markbass to Aguilar as I needed real gain/drive. I never had any problems with either amp not being powerful enough.

They are, and have fairly different sounds. The CS62 is warm, rich in the low mids and breaks up nicely whereas the Original I would describe as ‘woody’ having a presence in not high mids as such, just higher than those of the 62, plus it has less lows. It really does sound like the recordings of early bass, in contrast to the 62 which is a much fuller sound - imo of course.

You may have a point there. Given that I voted for You Know My Name and think that Casino Royale as well as being the best Bond film is also one of the best films I’ve seen I reckon you’re onto something.

Good to know they’re admitting it.

Stainless steel as I need driven/twang for my currently band and having tried rounds/flats and nickel/steel have found that steel rounds work best.

I love em all, but You Know My Name was a cracker.

We’ve never been charged this when flying EJ, just the regular in the hold costs. I reckon this was an in the back pocket charge.

And as per @BigRedXs post, if you have someone in the band who is capable of doing all of this then they are worth their weight in gold. Our singer does all this for us and without him we wouldn’t have achieved anywhere near as much as we have.

Given how many people rate that pickup I’ve always thought that Fender really messed up in not selling it separately, a real shot in the foot imo.

Likewise, first time where everything has been right, only took me til I was 48 to reach this point.

I always recommend the Fender Custom Shop 62, however a slightly cheaper option is the Seymour Duncan Steve Harris which sounds very similar, only slightly hotter so breaks up quicker. And the amount of love the EMG GZR (Geezer Butler) gets would indicate it`s a serious contender.

A great example of slap-bass, can’t think how much the song would change if played without those slapped parts.

A mate of mine used to sell on evilbay but stopped due to such types. For example he would advertise a red 2 litre kettle. An enquiry would come in asking how many litres the kettle would hold. His response was to send the ad to the enquirer but with the font in very large type, and add that he’d made the ad easier for them to read. After a while, when this didn’t yield the results wanted he just used to reply to them stating he refused to sell to them on the basis that they were too stoopid to enter into a business transaction with.

Well I’m going to try my Player Precision and if that goes ok I’ll look to get my US ones trimmed to the same dimensions.

Bah!

Reading your first post of today @oZZma, the thing that I notice is you seem fairly down on yourself. Having had bouts of depression myself, and recently having had some therapy, negative thoughts in general seem to be more final and definite in their conclusion. Without going into a load of therapy type spiel revisit your songs when you’re in a lighter mood and I’m sure you’ll view them in a different way. Remember, when you wrote them you had the highs associated with the creation, of piecing them all together, of the overall achievement. Now you have the familiarity of them which understandably doesn’t have the same spark. Not everyone can write songs, the fact that you can and have done is something to hold onto. And if one or two can do with some further work, well nothing says a song in its first format needs to stay that way.