uk_lefty

Yeah I wasn't putting down the dep bassist at all, he's not only got a shed load of songs to learn but the structures, different keys etc and he has to keep up with the drummer and guitarist who it's hard to just slot in with because of how they play. It was just interesting to note. Equally when I have depped I completely changed the sound of one band just because I simply cannot play with the same techniques as their regular bassist and would seriously fudge it up if I even tried. It was just an interesting observation in the complete change of dynamic to the band, especially as I contemplate setting out to dep for more than just people I know and be a proper hired gun.

I have been on self imposed lock-down from all activity beyond essential attendance at work and family duties since my baby boy arrived almost three weeks ago. My band had what is usually the biggest gig of the year and used a dep, which I am 100% behind. I saw some video of them playing with the dep, a reasonable player who played all the right notes in the right places for the clips I've seen... But... It was an odd experience. There just didn't seem to be the energy and dynamic in recordings of the band that I've got from rehearsals and previous gigs in which I've played. The crowd looked smaller than expected which may have contributed but, though he was good, I just didn't feel the bass driving the band like I hope/ think I do. I'm grateful the gig went ahead with a ddcent player depping, it just didn't sound right to me. Anyone else had similar experience?

Someone noticed them. Go get the black ones!! 😂😂😂

Use it as an opportunity. The other band may have contacts with other venues you haven't been able to or haven't thought to get in to yet. When there's multi band events then great you can be two of the bands. As mentioned before a good drummer is usually the one juggling multiple bands. Unless it's the 70s and you're all living together in a bedsit trying to write songs to change the world then surely its every person for his or herself when not doing the once monthly gig.

A psychologist would say this is a result of me being the youngest of three boys growing up but... I blame the drummer. Seriously, if momentum is dropping its the drummer. My first band was probably my best musically, the drummer was the best musician I've ever known, during solos he and I would improv, but him being far more experienced and seasoned than I was he was throwing in fills and dropping out for odd beats and so on. I just used to slide up past the 12th every now and then! Its not just down to you to fill out the solo, if the drummer can get involved in thickening out the sound too and the pair of you can work well together then you can jam through them and keep some depth and texture to the sound.

Fuzz, overdrive, distortion, mix in chorus or octave effects to thicken it out. Digital delay... Depends on what noise you want to make. A subtle bit of something to change up your tone plus something to "duplicate" the sound like chorus or delay would do the trick.

I would imagine so.

Can't say I noticed them being especially glossy. They don't feel slippery or sticky or anything. I use fast fret anyway so the stickiness or lack of is probably influenced more by that. They don't shine a lot under stage lights if thats the worry? They're great value, I had them on my bass for over a year and have saved them back to use again. Think I got them for less than £15 but it was a fair while ago so I could be mistaken.

I use both with an RM500 head. Decent gigging set up. I personally prefer two 15s but the 2x10 with the 1x15 is still a great set up. If 10s are more your thing than 15s I'd look at the 4x10 options they do.

I used them on my P Bass for ages, really interesting sound from them and they feel great too.

Warwick Star bass?

Maybe mine is a very subtle one... Im not an expert but the edging is not as pronounced as I've seen on others, if indeed it is. Also keep in mind that I'm left handed, we don't get half the bells and whistles everyone else does in general.

Not on mine which is a 2017 model. Still best neck I've ever had my hands on though

I'd be very wary of buying cheap from China. I just think there's more chance of getting something unusable than something that can be used in your project. I've made the same mistake twice, buying a cheap P bass neck from America that didn't fit the body I'd bought and at the time had no tools or space to even attempt and inevitably flip up the woodworking, and I bought. G&L second neck that was amazing, the real deal, for about sixty quid but got excited at the deal and didn't realise it was completely wrong for the body I wanted to use. I've still never built a frankenbass but if I did I would be very careful what parts I used to keep the buggering about with it restricted to set up and not widening neck pockets etc as I have neither the skill or patience for things like that.

The Eden is the one I forgot I'd had! Very good pedal but the 15v supply is awkward

My Mrs laughs at me for always having a dhansak but as hot as a madras. That with a peshwari naan is heaven

Have gone ampless a few times on vocal PAs using some of the older generation zoom BFX boxes. It works pretty well for what I was doing which was alternating between bass and guitar in duo and trio stuff with no drums. I wouldn't want to rely on that set up with my current band unless we were firing the full PA with subs and even then I'd want a good monitor in front of me. My guitarist who is also the sound tech guy has recently gone FRFR "ampless" despite owning some seriously nice amps, he is a convert and he is trying to persuade me to go the same way. I think I'd just feel a bit "naked" without a rig behind me when with a full band rather than doing duo/ trio stuff

Hartke did a good bass chorus, was very cheap new and should be a steal second hand. They're supposed to be the same guts as some Chinese brand pedals you can get on ebay but if forget the name. I've had the Boss bass chorus, Hartke, Behringer (always broke), and a few others I can't remember. The Hartke was the best. I like the sound of chorus on a scooped bass, the kind of sound you can imagine accompanying an 80's cop movie scene where a car with lights that flip up out the bonnet pulls in to a murder scene at night... And it sounds good on fretless too

I'm a bit kack handed with this stuff but here goes... I had a Hartke VXL which was a great pre amp pedal for my precision bass. I went from individual pedals to a boss GT10-B. Yes, it's old technology but modern enough for me and does far more stuff than I will ever need. I have played around with the amp sims, which include a Trace Elliot sound, as well as others you'd expect such as Ampeg and a guitar amp sound too. I was using this a lot at first with a Sire jazz bass and disabling the eq on my Ashdown amp and going straight to the input, I've never heard of going straight to the fx return but will give it a go. That may have been a case of me playing with two new toys that had arrived at a similar time though!! There was a "super flat" amp sound I absolutely loved using with that bass. Playing live now I rarely play with the amp sims, in fact I'll turn it off on some effects to avoid cluttering things up. It's useful to get the clean amp sound and the eq effects it kicks in for when I want a slappy type sound but now I'm playing a USA Stingray I love the sound so much I can get by with just the bass and Ashdown amp and no effects whatsoever. I want to do some recording soon and will be using the amp sims a lot as I experiment with tone. When it goes to the detail of different types of mics on cabs though I get a bit lost, it's impressive detail but it's a layer of detail too far for me.

Just watched Frank Carter and the Rattlesnakes on iplayer. Saw a bit of them at Download 2016 but not quite enough before we had to go to see whoever else on the main stagw, that's more my kind of thing for a live band. Heart and soul in the performance, huge guitar sound.

I loved my Hartke kickback, really good solid amp with all the tone you need and a good amount of presence. It was more a cost decision that took me to Ashdown but if they fell off the earth tomorrow I'd be looking at Hartke next. Only heard good things about the previous generation of amp heads (LH series I think?).

Firstly, the dhansak is the daddy of all curries, I salute your choice there. Royal Blood. I think one song is OK, but they don't grab me. 1975... I tried listening to them once. Loads of young'uns love em, I read some really positive news about them... But they are just dreadfully forgettable. And annoying. They're like a crappy fashion phase that shouldn't last more than a summer. But somehow they're still here. Puzzling isn't it?! I mean, it's not Paul Young.

We have t shirts that we try to sell. A handful have sold... We will wear them on stage sometimes, I dont think it's naff but I can see how some would, especially in originals bands... We are a covers band, so lots of people think that's naff in itself. There's a motor racing event we've done a few times where the sponsor of the event makes a t shirt and puts our logo on it but it is definitely a motor racing t shirt that you might find our logo on. We wear those more than most.

Hi Sven. I have used the ABM amps a bit but own and gig an RM. I think if you want big, natural drive it's the AMB. I find the ABM is absolute perfection for a precision bass with flats rock sound. You can get there with the RM but the ABM is naturally weightier in sound (I didn't say heft but I kinda meant it). However I personally find the ABM hard to get different sounds from, like something a bit more suited to a fretless sound. That could be my lack of patience in the rehearsal room though. I just find the RM easier to manage the EQ but as I said I own the RM I just have occasional use of an ABM. Also when I use the ABM it is with ABM cabs so they will be contributing to the overall sound. Given unlimited time and money I'd like to experiment more with an ABM as I think it's got more of a gutsy sound which could suit the sound of a new band I'm putting together, but for me as a covers band player who goes through a whole range of styles I find the RM more flexible.

I used to run a trace 2x10 as an extension to a Trace 1x15 500w combo. Best amp sound I've ever had. I now run an Ashdown RM500 in to a 1x15 and a 2x10 but I personally preferred it in to two 1x15s. That's just me though.