Lozz196

Yep, Glen Matlock was the star of the day for me. Amidst many very technically great players, sheer entertainment stood out, to a standing ovation at the end of his shift. Additionally the one stand that seemed to be busy all day was Promenade Music, who had a range of affordable and regular instruments, rather than expensive and niche. Is the LBGS seeing a shift in the balance here, standing ovation to a Sex Pistol who played a Precision through a battered Fender Bassman stack and people flocking over a stall with off the shelf instruments?

Sultans of Swing = pure quality, awesome track.

Seasons in The Sun, by Terry Jacks. The bass in that is quite up in the mix, and pretty simple but very effective. From that point on I realise I was always subconsciously listening out for the bass, without even knowing what it was.

[quote name='Low End Bee' timestamp='1488466647' post='3249209'] I kind of know what you mean Lozz. My programmable Sansamp sounded better to my ears even without any mid control. I persisted with the Fly and now I'm happy with what comes out of it. It is probably a bit less warm to my ears but a bit more defined? Anyway. I'm enjoying the luxury of having both. I will keep the old faithful for recording as I know it does exactly what I want in the studio. [/quote] Yes, in all honesty I reckon that the Fly and the MK2 will probably sit in the mix better, rather than the MK1 which seems to power it`s way through, lacking in any finesse at all. But then finesse has never been my accomplice, hence my preference for the MK1.

Assuming I remember, whenever I buy an instrument I request Parcelforce to not be used as the courier. Not because I`ve had any issues with them, just that they don`t insure musical instruments.

It just didn`t seem to have the same sheer "oomph" as the regular Sansamp MK1 Bass Driver - pretty much my experience with the MK2 Bass Driver as well. Noting wrong mind, just preference. The Para Driver sounds like the MK1 Bass Driver but with sweepable adjustable mids. Poifect

I had one for a couple of hours, but preferred the Tech 21 Para Driver that I`d also ordered, so the Bass Fly went back. Shame, would have been great to have just the Fly to cart about but had to go with my ears.

Yamaha BB1100s into a Laney Linebacker (had a 15 inch speaker so think it was the 150 watt version). No idea of the rest of it though, was just a strap, a lead, a tuner and a pick and whatever strings came on the bass when I bought it new. School-boy error time. The bass is right but amp-wise it was a Fender Bassman head of some kind, into a Fender 410 or 412 bass cab. I sold those - to my shame for £60 - to help fund the Laney due to it being more portable. Doh. I also used a DOD Graphic Equaliser, a chorus by Orion I think, and a Reverb/Delay pedal.

Dave bought a Sansamp from me. Good comms, swift payment, advised when item received. Recommended.

Further to Painys excellent topic re rig rundowns, where we`ve all listed all of our gear etc, what do we actually need for gigging, assuming we have to provide our own backline, and assuming there will be no breakages so only items you would expect to use? For me it is: US 2015 Fender Precision, strung with Rotosound R66LDs Ashdown ABM-600 EVO4, Ashdown ABM410H Tech21 Para-driver, Boss TU2 Fender Instrument leads x 2, Fender Patch lead x 1, OBBM Speaker Lead x 1 Jim Dunlop Strap and 1.4mm Tortex Wedge Plectrum Mono M80 Gig-bag

I think I read somewhere that Matt does use the Sigs live as he doesn`t want to knack in his 70s Precision which the Sigs are based on.

Not understanding the science that well Bill - for that read, not at all - is this why when with a horizontally arrayed cab you get a great on-stage sound that`s perfectly balanced between highs and lows, yet when you walk out into the crowd, all you hear is boomy mush?

I`ve had a Squier CV Precision, and currently got a Matt Freeman Sig Precision. For so called entry instruments I think they`re pretty darn good. If I didn`t have the money to buy more expensive Fenders, which I do prefer for both playability and sound I might add, I`d be fine gigging my MF. It`s a good instrument and though for me not as good as my Fenders, that doesn`t mean it`s bad, not at all.

Good idea, mine is as follows: Basses Fender 2015 US Precision (x2), Fender 2012 Mex Precision (with Fender Custom Shop 62 Pickup), Squier Matt Freeman Sig Precision Strings Rotosound R66LD Instrument cables by Fender Speaker cables by OBBM Amps/Cabs Main gigging rig - Ashdown ABM600-EVO-IV with Ashdown ABM410 (and an ABM210 if a big gig or a video shoot) Backup gigging rig - Ashdown RM-500-EVO with RM-210T and RM-115T Pedals Boss TU2 Tuner, Korg Pitchblack Mini Tuner Sansamp Paradriver Plectrums Dunlop Tortex Wedge 1.14mm My sound is somewhere between JJ Burnell, Bruce Foxton and Duff McKagan, a grindy, driven Precision tone with a lot of twang/upper-mids (thanks Paradriver) and highs. I set the eq on the amps to flat and get all the eq off of said Paradriver. The only adjustment I make on the amps is adjusting the lows to suit, as each cab I use invariably is slightly different here, however at all of my gigs I go through FOH PA so the eq on the Paradriver stays the same, amp adjustment is purely for on-stage. So I suppose what I`m saying here is that all I need to get my sound through whatever rig is one Precision and the Paradriver. Which is ideal seeing as many of the gigs I do are with shared or provided rigs.

I had similar when buying a Les Paul Studio a few years back. Tried 3, one sang, the others vomitted. I bought the singer.

I now have 4 Precisions and am still finding myself scanning Ebay/Gumtree etc for others.

It should have been that both gigs were honoured but I can see where they`re coming from, preferring to gig with all members of the band if they can.

I had a couple of Epiphone Thunderbirds and the neck-dive was so much that you couldn`t take your left hand off of the neck without the headstock all but hitting the floor.

Blind Man by Black Stone Cherry was one I found difficult, for two reasons. Firstly it`s really not my style of playing, secondly I have a real problem with songs in that "tuned-down-to-wherever" thing, as I simply can`t pick out what`s going on.

I think the perception of "more lows" from the 115 comes from that manufacturers who make these cabs in general don`t make them to have very much in the way of high-range. Am of course going by the manufacturers specs here, plus my own earoles in respect of the ones I`ve had.