Iain

Funnily enough the singer/lead guitar in one of my bands posted a vid from the last gig we did recently - Crossroads. His comment? How good the bass and drums were. He wasn't wrong Stuff like that is precious.

[quote name='ead' timestamp='1429880048' post='2755928']I'm not a natural Fender fan, but this has the potential to radically change my perceptions.[/quote] I wasn't until I bought my US Geddy. Now pondering a P to go with it. The Dingwall Z3 is still my go-to though.

[quote name='ambient' timestamp='1443874247' post='2878355'] I've got a gig tonight we don't start until after the match finishes. [/quote] We're starting ~9 so first set might be very quiet!

Been using mine for a couple of months - practices with both bands and a few gigs including open air - it's been utterly faultless. Battery life even on rechargeable batteries is great too!

[quote name='jonsmith' timestamp='1443172815' post='2872759']Not speaking for George, but in my case it was a factor,[/quote] Ditto. The fact it's a signature was what got me to try it out. What made it a no-brainer to buy was the feel and tone, not sure I'd have tried a US Fender otherwise and the US Ged neck width and depth is spot on for me. My other bass is a high-end Dingwall which is a totally different beast but the Ged makes its own case for play time - more so in my softer rock/blues covers band than the punk/metal covers.

[quote name='DBerriff' timestamp='1442231880' post='2865288']I sold my beautiful USA Spector because I was fighting neck drop. The good old Precision got it right in my opinion and that is the shape I have been gigging with no neck or back ache for the last 2 years.[/quote] I had this issue with my Thumb 5 - ended up tensing my left shoulder and supporting the neck with the left hand which meant I wasn't able to play fluidly. Both my Jazz and Dingwall balance perfectly so no issues there.

[quote name='ambient' timestamp='1442180173' post='2865003'] I think they're designed for the traditional rock bass positioning, as demonstrated in your photo. I like mine kind of just above waist height, which is more suitable for finger style playing. They are great straps though, just wish they were a bit shorter . [/quote] I've got two Mono straps - a long that's always on it's shortest setting and a short that's always on it's longest setting... I couldn't remember what size I'd got originally so got the short assuming the one I had was a medium. Anyway... On the shortest setting the short brings my Dingwall so the upper horn is around nipple height, on it's longest the bass sits on my hip - my preferred position. I'm 6' so I can see that a shorter player who wants the bass under their chin might find them long! They are the most comfortable straps I've used. Must get a medium next time...

I've got a set of the new Ernie Ball Cobalt Flats on mine at the moment and they're really good on it - tons of attack and brightness - been on the bass a month and not lost any edge. Certainly have more zing than any rounds I've tried after a month - they seem to be more consistent so you don't get the immediate hit you do with rounds. glad you decided to keep your Ged geofio - it'd have been a shame losing so much on a sale this new!

[quote name='sPiKi' timestamp='1440854233' post='2854352'] Iain, any experience of Mark Bass speakers or a good match with one of their heads? [/quote] Until I got my Barefaced SuperTwin I ran a pair of MB traveller cabs with the BigBang - they're now relegated to my rehearsal rig and I gig the BB & BF. They're really very good cabs - I've a 121H and 151P, with hindsight I'd have got 2 121Ps though - they deliver enough lows without needing the 15". I tend to play with the lows rolled off anyway as it keeps the general mix from muddying up. Using the BB with the SuperTwin is as close to heaven as I'll get with my current boot space - I'd have gone for the BigTwin 2 but it's about 1/2" too deep for the boot aperture on my A5! I've not noticed a lack of top-end through what I have though. One 121P and a BB head would probably cover most small venues. I rarely use the BB head 'naked' though - I run through a lot of modelling with my Avid ElevenRack so the neutral nature of the Barefaced and ability for the BB head to be pretty clear (I run with the VPF and VLE completely off) and sim the amp and cab side in the rack - I generally use the Blue Line Bass (based on the 1969 Ampeg SVT* head) and 8x10 cab emulation...

Unexpectedly awesome gig last night at the farmers Arms in Wilmslow with Trackside. Small pub, 1st set was good, decent crowd who were having fun. Second set was great - crowd were really in to it giving us lots of energy. Almost lynched when we finished off and people wanted to keep partying. As our singer said - always leave them wanting more. Already looking forwards to going back there in November with new songs.

[quote name='Grangur' timestamp='1440867763' post='2854456'] I was looking for a video clip to explain the reason. What I found was a good video that explains a lot of what may be the OP problem and why I'm wrong. Enjoy [url="https://m.youtube.com/watch?v=SX0ta-dg0Tg"]https://m.youtube.co...h?v=SX0ta-dg0Tg[/url] [/quote] I do like his vids, always good for discussion!

Managed to get sunburnt last saturday afternoon gigging at a small bike festival despite the horrific forecast. Evening gig was grim as a grim thing on a grim day in a grim town - torrential rain, lighning and a mud pit in front of the very small tent we were playing in... the crowd ended up putting on a mud surfing show for us.

[quote name='JTUK' timestamp='1440843088' post='2854248'] I'd go for a PF500 [/quote] I wouldn't - had one, useless when pushed even moderately. Thermal cut-out even in rehearsal. No issues pushing my markbass BigBang way harder and longer. Couldn't get good tone out of the PF-500 either which wasn't the speakers (PF115 & PF210) as I've tried them with my MB head and they sound great...

[quote name='Conan' timestamp='1439144654' post='2840382'] A Sterling will also feel rather like a Jazz (certainly in terms of neck shape and playability) if that is what you like [/quote] I had a lovely US Sterling in trans red - neck is, if anything, faster than the standard jazz neck and very similar to the thinner profile on my US Geddy sig model.

I suspect it's a measure to keep the strings from oxidising so they keep longer on the shelf than purely environmental reasons. Plus cheaper than bagging individual strings.

[quote name='Grangur' timestamp='1440798244' post='2854041'] That's what I was thinking. Thinking of fanned frets - the intonation at the frets will be more of an issue on the E than any other string. [/quote] Why?

[quote name='JapanAxe' timestamp='1440787182' post='2853928'] I guess this is partly because I hugely enjoy depping! [/quote] That's just awesome - I wouldn't dare - just not flexible and good enough!

[quote name='HengistPod' timestamp='1440773088' post='2853763']how Harris does it with two is beyond me.[/quote] Indeed - the 16th gallop in something like 22 Acacia Avenue is tiring but fine with two fingers, CotD is something else when you get to the fast bit - it's fast with 3 fingers for me!

[quote name='JTUK' timestamp='1440756470' post='2853512'] I get that a venue can have an odd night, but gewnerally that is the game.. £250 and you do ok, you'll get asked back. £350-400 and you ram the bar will also get you asked back... it is all about track record ..more so that what you play. how you play. [/quote] That's basically it - the pub needs to make money and the bands need enough for them to feel valued. For me it's a hobby - if it covers fuel and strings that's fine, anything beyond that is a bonus.

[quote name='JTUK' timestamp='1440681449' post='2852921']I like to hear bands charging £400 plus in a pub..as it sets the goal. The pub are willing to pay, if they CAN afford it so the precedent is there.[/quote] We've been having this discussion in one of my bands - trying to set a general rate to avoid the singer signing us up for no money gigs*. All of us have jobs so we're not in it for the money but fuel, PA and general upkeep of the tools cost us - we've settled on £250 if there's a house PA and £100 on top for use of ours, doesn't seem a lot but we realised quickly that small pubs can't stretch to that. If you're in a city you might find more places that can but the more rural you are the tougher it is. If we thought our local circuit could make £400 viable for them we'd be more than happy to do that! Towns around us seem to think £150 and a free pint each is their upper limit... * played a biker summer party last weekend. Someone from one of the invited MCCs asked us if we would do a party for them in Feb and asked the singer how much. £150 he trots out. As the gig is the on the north side of Manchester it's a decent trip for me - £150/5 = £30 each, most of that will go on fuel for me... Grrr

[quote name='paul_5' timestamp='1440432620' post='2850682']2 fingers with a really, [i]really[/i] light touch, and plays through oodles of compression on flat wound strings.[/quote] interesting about the light touch as there's quite a marked 'clank' of attack, very low action?

[quote name='TimR' timestamp='1440427546' post='2850615'] Highish. Anyway. Quite a few of the IM are played further up the neck. Maybe that's how he gets his speed. Something to do with string tension? [/quote] This is something I've noticed when learning from the tabs out there and then comparing to live footage. Tans invariably around 3-7th, his play is mostly 5th and above. The Trooper is pretty easy although I play it 3-finger - I can just about play it 'Harris style' but it's tiring and uneven. There are way more challenging IM lines out there though but generally they're runs and fills. Playing through 22 Acacia Avenue, NoTB, Mariner, Aces High and 2 Minutes is a good workout.

Got mine towards the end of May any it's had a lot of play - practise and gigs - since then, neck is indeed sublime. Odd tools are just annoying though! It's not quite as versatile as my Dingwall Z3 but very easy to play. Looks stunning too - the quality of the inlays and binding are fantastic, particularly the binding covering the fret ends. Quality.

BVs only here, tend to cover songs where our main BVer - the lead guitarist - finds a melody throws his playing out then I'll pick it up. If neither of us can get it the drummer does them. We're pretty luck that we can all do a decent job and have a couple of songs where the three of us add to the mix. Takes me a while to nail the vox though - if bass and vox are simple no problem but I really have to have the playing close to unconscious for more complex work as I have to concentrate on the singing. Absolutely love the interacting with our singer on Basket Case.