Lozz196

I have to admit that in a live band mix I think that flats can really work - I just can’t manage it myself though. Totally the wrong sound for my current venture, but I’ve been playing rounds for so long now flats played by me just sound wrong to me, pretty much like Stingrays, everyone else makes them sound great.

1 & 2 for me, which leads into 5.

Sounds great, I’ll def keep those in mind, especially for backup basses

That’s interesting, though the post mentions two pickups, Kent Armstrong Hot Vintage and Dimarzio Area P -which one is the one you tried?

Ah, I was hoping for a reply of “Get your trousers on son, you’re nicked”. in all seriousness it does look a plan though, I went there a few years back and managed to spend some good time checking all sorts of goodies out.

Been watching the daily reruns of The Sweeney have we?

When I was a young lad there was a song in the charts (Seasons in The Sun, by Terry Jacks) that had this sound that I liked, didn’t know what the sound was but listened out for it in other songs. Fast forward a few years I found out it was the bass, and at that time, when punk was at its height, the cooled - imo - people in the bands were the bassists. So the sound I liked was played by the cool people, good enough for me.

Probably that to date I’ve never had a drummer say they can’t work with me. Of course I’m proud of the material I’ve contributed to writing and of the reviews we’ve had for both that material and live performances but you have to be able to gel with the drummer first and foremost. Am particularly proud of the fact that the best drummer I ever played with said that my bass playing made his job easier.

Yep, been there, panicked unbelievably only for it to be something like that, hugely embarrassing.

Yes, I’ve got those in my Vintage Tony Butler Precision and they are near enough in sound to the 62s for me to have not bothered swapping them out.

You can’t argue with idiots, they’re generally far too experienced. Agree totally, they spend their whole lives like it, we don’t so are far too unprepared to deal with them when we unfortunately encounter them.

When we’ve played in Germany, Belgium, Netherlands and Greece we’ve had to do the same as the Italian way, much better imo.

I’ve just had a set of those 74s put in my Squier VM77 Jazz, Kevin. Fantastic pickups, much beefier than Jazz pickups are usually given credit for.

That does look nice!

It’s also a good move as it keeps the theme going for the whole night, rather than once the band is on a break a load of doof-doof starting up, singing about hoes and gold chains, or The Wurzels top 10 hits one after another.

I’ve had both, whereas the CS62 is deep, warm and rich sounding, although not boomy, think it’s more low-mid biased, the Original is “woodier” and has an upper mid-bias to my ears. If putting them to eras I think they’re pretty well described by the names, the Original makes you think more of the rock n roll sounds of the 50s, the CS more of Motown.

Not sure if it was the 115s or 210s but I saw a few bands using this range last year as provided backline and I was very impressed with the sound.

I use a Gator bag for my Ashdown RM500, always seems pretty secure in that.

No worries, glad to help

Not much to be honest. In order to get the same sound I just drop the hi-mids and highs a touch (mids a tad more than highs) so I suppose that means the Player is slightly more aggressive sounding with the same eq. I had planned to change the pups in the Player to the 62s but found I didn’t really need to.

Not convinced , I play punk and am sure I don’t play as much as is on that chart 🤣

Pretty much the same for me too. The 62s have a warmth and depth to them that I’ve not come across before, but it’s not a boom or lack of treble. These pickup react well to whatever is asked of them, I play trebly twangy driven punk and they deliver, but in days when I’m playing along to Motown they also do the business when the drive and twang is removed - which I do just by turning back the tone control on the bass, no need to adjust on amp. I’ve had many different Precisions over the years and these are by far the best pickups I’ve heard in any of them.

Never a big fan but loved Out of Time

Yes, Line Level is louder so if available on your PA choose one of those. On some pedals there is a minus 20db selector on the DI to accommodate going into a mic input. If your PA doesn’t have Line Level inputs and the Darkglass has this try engaging it, it should really make a difference. Also some PAs have a similar option on the channels so that could be worth a look as well.

Was the pedal going to mic or line level. If not paired properly it will be seriously overpowering the pa.