Lozz196

Hmmm, the cynic in me says pretty much the same basses, differnet name, higher price tag, a bit like what they did with the US Standard/Professional tagging. And I`m a Fender fanboi.

Thanks Mark, that is a good price all in, bargain in fact

Good call, the Tonerider pickups are great, they are very close to the Custom Shop 62 pickups that come in US Fenders. One of those and a KiOgon wiring loom, instant improvement in both quality parts and sound.

It could be that a good many of us really like Ashdown gear, Jack. I`ve been through (many of) the technically superior lightweight cabs but have found I prefer the sound of Ashdown cabs to any of them.

Yep, as my girlfriend in the mid 80s was JT obsessed I had a rather large hatred of him, to the point where I convinced myself his basslines were played by Nick Rhodes on keyboards. Luckily I snapped out of it and realised his talent, and was rather impressed when he joined up with Steve Jones (Sex Pistols) and Duff McKagan & Matt Sorum (Guns N Roses) to form a heavy rock band, The Neurotic Outsiders.

If you don`t mind me asking Mark, how much did the bridge end up costing in total with import/postage etc, and could you PM the link please?

The Squier Affinity Precisions, once set up nicely are very nice basses. If you like a big chunky neck however I`d recommend the Vintage Tony Butler Sig, really nice basses, and a real chunker of a maple neck.

No worries Dave, I see what you mean. I took said claw hammer so that if I saw the person I suspected of stealing my bass, I could hit him with it. I was less reasonable in my younger years.

I did have a - luckily - cheap bass stolen once. I was pretty sure who did it, but didn`t want to throw any accusations, so I went to their next gig. With a claw hammer. Probably lucky for all of us that said bass was nowhere to be seen. But, lesson learned, don`t leave your gear to your band-mates to bring to gigs/take back for you. The singer of the band had brought all the gear in the van, and then said he would load up/take it back. He just thought I`d taken it back with me.

The Sex Pistols playing Pretty Vacant & New York live on their comeback in `96 was pretty good too.

No doubt emitting birdsong

Warwick Red Label Steel Rounds. At the price (just under £9) I wasn`t expecting much, but the sound, and the life of the strings has far surpassed my expectations. Similarly when I`ve bought Squier basses, and my current backup, a Vintage Tony Butler Sig Precision. Much better than you would think for a so-called budget instrument.

Why exactly are you moving the 210 on - if it`s just due to the weight then a lighter 210 would be my thoughts, and in this respect unless you`re DI-ing I`d agree with a Markbass 210 (Markbass cabs seem to have a high-end roll-off, so what goes to PA is much toppier than what you get on stage if DI-ing). If however you need a bigger cab then there aren`t many 410s around at under 25kgs that aren`t expensive - aside from (shameless plug) the Ashdown that I`m selling.

Def, really decent article that. Just goes to show that inefficient and poorly designed aren`t necessarily factors to be taken into account when it`s your ears making the decision. From reading the article you`d get the impression that everything was being done wrong and that the sound would be hideous, but drop that sound in the mix and all makes sense.

When I bought one of these I did a fair bit of reading up on them on Talkbass and the general concensus was that these amps need to be pushed to get that famous GK growl, and given the power of these amps at that point your ears will be more than likely bleeding. I only ever used mine with a Sansamp so got the drive from that

The trick is not to play with even rhythm all the way through, as it`s more like a (loosely) strummed guitar so sometimes it will be double-notes, sometimes singles. Given the sound that he made, I think many often over-looked Lemmys actual bass-playing, which really was like a rhythm guitar on bass. I have to admit his style has had a big influence on the way I play for my current band.

I think we`re quite fortunate on that part, there are no quiet bits in our music

Yeah you`re probably right there Mark, kinda goes with the territory I suppose.

Used properly it`s easily possible to do the bass amp/410 & Marshall 412 thing in a pub-sized venue, it`s the individuals using the gear in most cases that`s the problem. I`ve been amazed at how loud some bands play, to the point where it`s both painful to listen to, and where you can`t work out what is being played/sung either. Our dynamics are full power all the time, but then we`re a 3 piece punk band. We`re only ever as loud as the drummer, who although he plays fast isn`t particularly loud, which suits me fine. We have the 410 & 412, used to have smaller combos, which were just as loud but the sound wasn`t as full.

Pretty much the same for me, I was chasing a sound and all the basses I`d bought sounded good, but didn`t quite get what I wanted. I then decided after many years to get a Precision and suddenly it made sense, seeing as virtually all my fave bassists use one. That sound that was a bit "meh" on its own sat wonderfully in the mix, and did everything I`d been wanting from a bass. It`s got to the point where any bass in my hands that isn`t a Precision just doesn`t sound right to me, Jazzes and Stingrays particularly, I love them when someone else plays them but I just make them sound cack.

Yep, I was amazed at when hearing John Deacon, John Taylor, James Jamerson, at how driven and gnarly their isolated sounds were, yet how well that sat in the mix as warm and rounded.

Yes, a band I was in improved when both guitarists left. Originally one left, and I decided to jump to the 6-string seeing as I was writing all the songs. Then the other one left and a really great lead guitarist came in, allowing me to concentrate on rhythm guitar. The band sounded so much better imo, but then an opportunity for me to join another band came up which I took, and then realised where my preferences were so left the first band, which folded completely.