Lozz196

45 minutes ago, Baloney Balderdash said:

I am pretty sure that usually with high profile professional musicians it is the other way around.

 

That is companies contacting the artist to offer them an endorsement deal.

 

I think you`re right, that I`m sure does apply to many (probably the majority) of the instrument/amp making companies, aside from the company I was speaking with.

Not sure about how true it is now but a mate used to work for Marshall and apparently they never gave stuff away, figuring that the more they gave away to rich professional musicians the more they`d have to charge not so rich non-professional musicians in order to remain a viable profit making company. 

I’ve heard of similar instances @Wolverinebass, with artists calling up companies saying hey, a great business opportunity is coming your way, pay me to take away loads of your amps.

48 minutes ago, dmccombe7 said:

I played The Wheatsheaf back in the mid 80's.  That was the one in Dunstable ? 

Happy days touring with a broken leg. 

Dave

Different Wheatsheaf Dave, a much more pleasant one (going by the above) in Leighton Buzzard

If I recall correctly @uk_lefty the Crow is run by the same people who ran the Wheatsheaf, or at least had something to do with it. 

1 hour ago, Cat Burrito said:

To take a different approach, Sid Vicious. Growing up listening to punk, people raved about him but Matlock was obviously the talented one. Sid Vicious had the image but made a mockery of the music / the instrument. It's not some sort of snobbery - people like Dee Dee Ramone played very simple root note based stuff but he wrote and brought something to the group. 

 

Yes it`s amazing that given how many very talented bassists there were throughout punk that Mr Ferocious is the most well known.

Agree, I like Dagans guitar reviews but this doesn`t make the pedal sound great, I`m sure there are much better tones that can be coaxed from it.

If portability is a factor then a Fender Rumble combo - either the 500 or 800 - would work. They’re plenty loud, lightweight to carry and can be picked up used for good prices.

There’s a prog about The Specials on at 9pm Tue 19 March.

New set of Hipshot Ultralites installed on one of my JMJs this morning, does make a difference, this is my lightest one so the neck dive, whilst not massive was more noticeable than on the others, much more balanced now. They’re a doddle to install too, straight fit, I’d  def recommend them for the JMJ.

32 minutes ago, Bluewine said:

Just an example of band communication.

 

Here's a text from my band leader.

 

"Hey guys! I know I got confirmation from everyone for  Maple Rd @Tiki Resort in Elkhart Lake for Sun 7/28. The time would be 4-8 pm with 3 extended breaks, is that ok with everyone?"

 

A four hour gig is a bit much for me, however I'm ok with it. Would you be ok with it ?

 

Daryl

Good comms there. Given there are 3 extended breaks 4 - 8 would be doable if my back were ok but at present that would be way beyond me, a 40min set makes me hurt for a good few days.

I think it would start with C

And end with UNT

I’m 6ft and don’t think they look that out of place 

I switched last year to short scales from Precisions, I went for the Fender JMJ Mustang as it has a neck with similar width & feel to a Precision (and a fairly similar sound in the mix too).

It hardly took anytime at all to feel very familiar playing it, in fact it was pretty instant, as a Precision player for years I was concerned I wouldn’t gel with it but my concerns soon faded.

The neck dive I don’t notice too much, though I do use a Mono Betty strap which provides good support & stability (I went short scale due to back issues so made sense to have a good strap as well). Changing the tuners to Hipshot Ultralites would reduce the weight by a fair bit - principle of levers & all that, knocking off 200+ grams at the end would be very noticeable. This is something I’m thinking of to make my JMJs (I have 3) even more practical.

1 hour ago, NAS Bass said:

A lot to be said for sticking to one bass and "really" getting used to knowing where all the good sounds are.

 

I`m like that with my fave Precision which I`ve had since 2015, although I`ve had loads of other basses throughout this period this bass is the one which I really know.

Dreadful news, Nick was a really decent guy

Gutted, Nick was such a nice guy

Good luck Billy, must have been great fun learning those bass lines.

To minimise the amount of kit I carry about I use a Nux system which is just two bugs, one for bass & one for amp. Works on 5.8 too, so no taxis or pizzas interference.

Very underrated basses, the Vintage V4s

1 hour ago, markbunney said:

I have an audition tonight. They sent me the setlist, and said to learn three specific ones off it for the audition. I have learnt those, and am pretty comfortable with them, but Ive had a good go at learning another 17 of them just in case! 

Good luck Mark, given I`ve done similar for auditions I think that`s the way to go.

Great guitars, I have the black version, plays and sounds fantastic, easy enough to play whilst sat on an office chair that has arms too.

1 minute ago, Noisyjon said:

There's also the Fender Mark Hoppus second gen signature bass with the slightly forward reverse P pickup - Didn't that win a P bass blind test at a bass bash @Lozz196? 

It did Jon, and not by a nose but by a country mile, a runaway winner.

46 minutes ago, kwmlondon said:

I've never had a signature model before, is it obvious? Is there a signature somewhere?

 

I mean, if I liked the bass it'd have to have the name of someone I really despised on it for me to turn it down, and then I'd probably still buy the bass but find a way of getting the signature off!

I get that, before my short-scale days I`d have quite liked the Sting Precision but, well it`s got Stings name on it. He`s a fantastic musician but, well just but.......

I`ve not had that one but had the 21012L (two 10s front facing, the 12 side firing), and yes, on it`s own it was quite middy but in the mix it really shone with a rich full sound, plus the dispersion was amazing, you`d pretty much have to stand behind it to not get the full range of the sound.

I don’t feel at all pigeon-holed playing my Fender JMJ (Justin Meldal- Johnsen) Mustangs. That could well be down to I’m not familiar with his work, just have the basses as they’re just really good instruments that fit my needs.

Similar to the above I’d probably feel pigeon-holed by anything pointy/metal oriented.