uk_lefty

Kramer Striker five string fretless. The modifications from stock... Kiogon loom with the magic sauce that makes the cheap stock pickups world beaters. I'd like an epoxy type coating on the fretboard. Maybe some better quality woods in there, but really for a cheap bass this is still going almost twenty years since getting it and I have used it in every band I've been in. The headstock shape makes it a bit lairy and not suited for everything but having said that I think that's part of its charm. It really looks out of place at an acoustic blues gig. Especially when you've just been told "it's 12 bar blues in *whatever key* you'll be fine" and expected to play competently for a whole gig....

Rehearsal is absolutely essential. I get it when people have varying levels of commitment and different expectations but that's why you almost have to "interview" everyone before agreeing the line up. That's not to say it won't change over time but if everyone is honest that's step 1 done, getting everyone on the same page. Then for step 2 see who is just talking it up Vs who is doing the work, learning the songs, can play their instrument, etc. Sadly I've met so many people who talk the talk but really they just want to do a show and tell of their expensive gear instead of learning songs properly, then criticise others for not being able to rehearse because they're on holiday in two weeks' time. I've just joined a very good covers band. The "interview" on the phone lasted an hour, they got sent video and recordings then I did an audition, then a few weeks later an extended practice including learning a new song and some in different keys, waited another week for them to see others, then got the gig four or five weeks after the first phone call. I've got a set list for a gig on 10th December, each song with notes on whether it's in original key or of its a different version of the song, and I'm going to track my progress against these so we can plan what to practice. There's no way I'm turning up to busk through songs or try to figure it out in the room. Pressure is on, but I like the organisation of this outfit.

We would sack you but it's too much paperwork so... 😄

Here's the solution I've gone for... I've invested in an Ashdown ABM Neo 1x15 cab to have a better quality fifteen. When I only need one cab I'll use this and I'll get a Markbass wedge thingy. I'll keep hold of my upgraded Rootmaster fifteen for now. For the rare occasion I need two, yes they won't match exactly, but I'll have two fifteens available. If it turns out I don't need two cabs much if ever the Rootmaster will go. If they don't sound good together the Rootmaster will go and I'll get another ABM Neo fifteen. Thanks for all the advice everyone

When I started out twenty years ago I saw quite a few live rock bands using drum machines pretty effectively in place of a smelly pot basher. I'd guess these days the tech is better. Persevere until you can get a real one that works for you?

Thanks Phil. I'm looking for a "one size fits all" solution. I'm joining a new band that play larger venues where PA provision will be better than what I was previously used to, but I can also see me needing just my amp and no PA cover for smaller gigs. Good point on the drummer, I shall ask him. The rationale behind my choice of 15s or 4x10 was not scientifically informed. I like the sound of two fifteens having had it before. I don't like the sound of a single 2x10 or my fifteen with a 2x10, but I thought a good quality 4x10 would be a decent single cab solution. I don't find the single fifteen on its own very good but I've never angled it before.

Bill, I always value your advice whether it's on a thread of mine or someone else. Thank you, you've saved me from buying a 4x10. I never knew why I didn't care for them much but was seriously thinking to give it a go!

I run my Helix Stomp straight into the amp input. The only effect it doesn't like is a Trace Elliot IR so I made that block turn-off-able via footswitch. Easy.

What would work best for on stage sound.... A single 15inch cab on an angled stand? Two fifteens stacked A 4x10 I have a single fifteen already. I've had two fifteens in the past and loved the sound. I know I can't just sit the single fifteen on the floor and get clarity of high end on stage or in rehearsal. Looking for the best solution and advice, please.

It's all down to personal taste, but I'd say make sure you can see and feel one before committing. Some can look good online but up close are pretty poor. Best relic job I had was buying a 90s MIM Fender and just never ever putting it in a case and not being careful when dragging strings out the bridge.

I like it!!

I loved this film when I first saw it, then went out and bought tons of Leonard Cohen.

Warwick are one of the few brands who look after lefties quite well, though. I'm sure you could find a decent, used or new Warwick Thumb quite easily. A few months ago one went on eBay for £700, Bass Gallery had a nice one that recently sold and I think Bass Direct has one at the moment unless it's sold in the last week. If you search Reverb, keep viewing eBay and wait a bit you'll probably find one within a year or so. If it's a dream bass getting one within a year would be a good result, surely?

Totally this!!! I'm the same with films, I watched Blues Brothers for the first time about a year or two ago and all the cameo appearances and jokes must have been amazing beyond mind blowing when the film was fresh and new, but they set a bar for others to try to reach and or exceed.

I think there's loads of variance, from the big production brands like Fender who run a custom shop to the bespoke builders who only make to order. Not all Fender custom shop instruments are made to order, I've heard some retailers have to buy and stock X amount of "custom shop" instruments.... The only Fender custom shop bass I've ever held in my hands and played was ordered by an ex band mate who spent £2000ish and waited a year or two for it. They now cost around double that for those available in shops and the wait is probably longer if you want one built to your spec. It looked great it played.......... Ok. It wasn't for me, aside from the false ageing which looked good I couldn't really see where the money had gone.

No. I've only ever had lefty basses. Had I started out on a right handed bass I'd probably have stuck with them. Not ever flipping at right handed bass over, or wanting to, has probably saved me thousands over the years!

Red Hot Chillis at Knebworth 2012. No vocals coming through. Bought an official MP3 recording of the gig and the vocals were loud and clear on that.

One tactic I had, not so much a leave behind marketing piece, but something to help keep the gigs coming in, was to find out which other pubs the venue is networked to. So if you get a good lead on a place that has covers bands every Saturday and pays say £250 which brewery chain are they in, where are their other pubs.... That way you can go to their "sister" pub and say Glynnis at the Dirty Swan in the town centre has us for March, do you have an opening for April? A bit like the old home improvements door to door tactic of "you may have noticed our vans down the road nearby"

I see these every now and then on eBay. So either try to find another or see if Ashdown can do a front grille/ cover or badge so you could match up a different Ashdown cab but keep the look consistent. No guarantee they will do it but if you don't ask you don't know.

I know!!! I want so many.... But since buying a US made Stingray most others are just nice shapes and colours and don't have a comparable complexity of tone from the pickup or feel to the neck. I even tried a new US Jazz a few months back and just thought it was not up to much. I think I need GAS therapy!

I left behind a plectrum with the band name and logo on it and a Facebook page link. Two problems there. First up you can't "click" that link, and second it was written so small you could barely see it. A QR code leading to a site with content about the band would be far, far better!

I haven't regretted selling basses. There are some I sold for amounts that look crazy low now, but at the time it was right. In the last few months I've sold two: my MIJ Jazz and my 1984 Aria. The MIJ Jazz was the most beautiful jazz bass I've ever seen but something about it just didn't click with me so I sold it to a BC'er. The Aria was a restoration project that again just didn't quite click and I replaced it quite quickly before selling it to a BC'er for less than the amount I sank in to the restoration. I regret neither. I've got some cash in my pocket that I am yet to spend. But what this has done is made me play my MM Stingray a LOT more. And that is no bad thing. I'm quite happily shedding gear at the moment. I'm thinking less is more for me at the moment. It's nice to collect stuff but it's also fairly pointless.

Classy headstock, I like the 3+2 arrangement and the black hardware.

Ashdown Rootmaster. You can bypass the EQ with a switch on the front. I used to before my Helix days just because my Sire sounded so incredibly good with its onboard EQ. Now with my Helix I don't bother with the effects loop I just go straight to the input and sometimes use the amp EQ, sometimes don't depending on what I want to achieve. Also, they're going crazy cheap at the moment despite being excellent amps.