Lozz196

Likewise, I think what he adds is very unlike what you expect from a typical keyboard/synth player.

No worries, it was a great Rebellion, one of the best imo, and very worthwhile band wise, hopefully get some good work from it.

I missed you, we were on at 3:25 on Sun so was getting ready etc (as in fighting nerves and all that malarkey). Glad to hear the V4 held up, I`ve been really impressed with my Tony Butler V4.

I was pretty amazed to see stickers on the back of a famous punk guitarists guitar, saying what the notes were. This some 40 years after they were in the charts/on Top of The Pops. I suppose what works for the individual and all that.

Oooh, I like, that`s def on my shopping list

Gigging that day, bah!

Not used the combo version, but I do have an RM500 and it`s a brilliant amp, great tones/eq and very powerful.

If I needed a set of strings quickly then I would use my local music store, but seeing as they don`t stock the brand I use it would have to be a an emergency set, and their prices reflect that of a store and not an online outlet, i.e. much higher. When I used to use Rotosounds my local shop was selling them for £22, online I could get them for £14. I needed a set a month so doing the maths 12 x£15 = £168, or 12 x £22 = £264. Using my local shop would cost me £96 more per year - 6 sets of strings. I`d like to support the local shop but not to that extent, for the same amount of money I either got a years worth of strings, or a year and a halfs.

I`d say number 1 is the Fender, more mids. But then not being that knowledgeable about the strings used that may well be throwing me off track.

All our earnings go back into the band, that way we can afford studio time, hotels, flights, more merch etc. The only things we individually pay up for now are strings/sticks etc, plus fuel costs of getting to gigs and food/drink consumed at said gigs, everything else is now met by the bands earnings. We`ve even gone legit, keeping proper accounts etc now. All PRS payments also go back into the band, and all the songs are written by all of us anyway so we`re equal partners. If any of us left the band we wouldn`t replace them, we`d fold the band so whatever was leftover would be split.

Punk - the theory behind it was that anyone could do it (though in reality it wasn`t quite as easy as that) so they should if they wanted to.

I`ve just got one, am not sure on it yet, but as am off to a festival now will have to have a good play when I get back. I`m pretty much there with the sound I want from it, and certainly for overseas gigs it will make travelling with gear easier so I`m reckoning it may just work. But the real try out is rehearsal next Tue, that`s what will make my mind up.

If your back is ok I`d look at either a 212 or a 410, and power-wise look at a 500 watt head. All of this is more than you`ll ever need for a pub sized venue, but if asked to do bigger venues/outside gigs it will work for those too. Brand-wise, well so many out there, I`d recommend going to see a few local bands and when your ears latch on to a sound you like, inspect the amp (tho wait ti the bands on a break of course). Re the tough aspect, well again back dependent but Trace Elliot, Peavey, Laney, Ashdown, all makes that are pretty durable and worth looking into.

I love playing The 100 Club, iconic venue, you just get the feel of the place when there. Also love The Star & Garter in Manchester, just great gigs and great audiences, in a venue that is standing proud in a development area and not moving. And lastly The Rebellion Festival at The Winter Gardens in Blackpool, just love that, the biggest and best punk festival, being asked to play there is awesome. 200+ bands over a weekend, you get to catch up with so many people that you`ve met over the previous year, it`s just an amazing time. We`re setting off tomorrow (playing Sunday afternoon), am so looking forward to it.

Here`s to hoping the "modern" sound-person doesn`t add in a huge kick-drum sound to the mix. With bass-lines/playing like PPs would be a great shame to trample all over that with this modern phenomenon.

Yep that could well be it.

Pretty much the same for me, DI from my Sansamp Para Driver, any amp issues - I use a lot of shared/provided rigs - and FOH still gets the bass.

That`s nice to hear, I have one arriving tomorrow 😀

Well if it`s of any help Hooky, I`m going to use my Tony Butler V4 as my gigging bass, I rate it that highly, in fact I`m buying another so will have the two TBs as giggers. Save me taking expensive basses out with me, but I wouldn`t do that if they didn`t feel good, play well and sound good. The TB V4 does all of that, and Mojo on here rates the regular V4 very highly (it was him who tipped me off re the TB when it was up for grabs) so can`t think it performs any differently.

Take a look at the two on this this Vintage V4 thread, they do rosewood necks: https://www.basschat.co.uk/topic/197880-vintage-v4/?tab=comments#comment-3562710

@creeper, that looks great.

I`ve had both, but kept the M80 as it has more space for cables etc. Plus it has a section where you can fit the straps into, rather then them trailing around. I find I can fit my bass into it when it`s standing up virtually as easy as with the Vertigo.

John bought a scratchplate from me - good comms, swift payment, advised of receipt/being pleased with the item purchased, all that`s good in a transaction.

That`s the exact one I`m gassing for at the moment, Stu. In line with proper punk etiquette it would get a black scratchplate but I just love that vintage-white colour.

I can see where you`re coming from, for a while I was standing in on bass for a mates band and they did a lot of drop D/drop C# stuff and I just couldn`t work out the pitch at all.