jonnybass

I use different brands/gauges for my basses. mostly nickel strings thought. On my ACG 5 - Newtone ACG custom set 130-50. P bass - Newtone 110-50. Jazz bass Dunlop super brights 105-45, status fretless thomastik infeld flats 100-40, sire v7 5 - Newtone ACG custom set 130-50 (but planning to change these out for lighter gauge nickel strings soon.

It’s a trace Blx 150. Supposed to be 150 watts. It’s a 10” speaker set back behind the baffle. I had a previous version blx80 when they came out. A bit of a muffled version of the trace sound but some really punch in it. Good amp.

Its not easy as we get older, can i suggest you pop the bass stuff away somewhere for a bit, give yourself a chance to sort out your head/find more likeminded players. I have been through similar phases and its rubbish. But what would be harder would be starting again buying gear to give you the best bass sound you have had. Take time, hope you can and do find a bunch of the right folk to play with. I am playing mostly original stuff and I'm very much the wrong side of 40, and Im the baby of the band... Jonny

Cant make any of the gigs due to work /life/stuff seen him in a few line ups and once solo in Glasgow, always been a great bass players gig. Kinda gutted to miss it. Jonny

Hi I was looking for some tips, my Subdecay Prometheus has starting glitching out, and dropping volume randomly. I am rubbish with anything like repairing things myself. Any recommendations (preferably Edinburgh based) where i can take it ini to get it looked at? Jonny

Mixed response here, mostly I plug in to the mixer and have the computer in another channel, sometimes my phil jones breifcase, and sometimes unplugged. All depends how I feel. Jonny

It was more the posts earlier about people who don’t know who Tim commerford or John myung is but they know who joe dart is… the urge was a great bass, I think stu’s more recent basses haven’t been as interesting…

Personally Im not a fan of signature basses or guitars which are just standard models in a different colour. I expect something that you cant just buy off the shelf (Yamaha attitude, Roscoe Beck V) spring to mind. I am not fussed if its been used on loads of records or none, but if it has features i cant get somewhere else. I had always assumed that as his stingray's are fairly standard this was why there wasn't a Tony Levin Signature. In terms of popularity, I dont think a non-bassplayer will buy a signature bass, but I think a bass player will buy a signature bass of someone they hadnt heard. I know I wanted a Roscoe Beck V when they were released but had no idea of the music he played. Jonny

Tbh, seems like a mix up then @Woodinblackapologies amigo I must have grabbed the wrong end of the stick with enthusiasm. I have been in bands where "note for note' was required...it was terrible stilted performances and bad practicing, never again. Be interested to hear how the chat between the band members goes. Jonny

Not the biggest fan of Joe Dart or Vulfpeck, but its always good to see an artist/signature bass thats more than just a standard model in a different colour or with a sticker. Also love that Ernie Ball take chances. Jonny

So should I just sit down and stay at home because i think playing should sometimes be about fun? Who made you the music police?....that's really not very cool. I dont consider the be all and end all of my music playing to be defined by anyone else, but by me and what I want to get from it, if its a wedding gig learn the songs, if its fun, jam/sketch the songs or just play, if its original write, practice and perform. But everyone in the band needs to think the same thing. I said that they need to work out what the band is for. in a band of 4 people 50% think the OP is being too heavy on learning songs, which suggests at the very least that 50% have a different idea of the direction to the other 50%. So they need to chat it through. Jonny

I totally agree, personally I'd be working out what was in the set up for me. Is the drummer great to practice with? Has the singer got great connections for more exciting work? Is this my only chance to practice with others? or is there nothing in it for me. If theres nothing, i'd say goodbye, as politely as possible, and say why i was leaving, then leave. Jonny

Agree its why a chat is needed, perhaps the guitarist doesn't realise the expectations, or the OP doesnt realise they are the one with a different vision. Jonny

Surely it's possible to play music for fun? if so maybe homework isnt needed? Personally unless its a professional set up, id rather play with people who are enjoying it, over people who are fretting over whether we have all learned note for note the 2002 Glastonbury live version of blah blah...but it does to me depend on the purpose of the band. In this case it sounds like someone has a different direction to someone else, so it needs to be aired. Jonny

I'd say it depends on the purpose of the band. I have worked in serious function bands, and so the expectation is to learn the parts ahead of time. I have also worked with more fun bands, and there has been little/no pressure to learn songs. It makes it slower, but the point there is to relax and enjoy it. Think of it like five a sides...if you were in a serious league, you'd expect people to train/work on fitness etc, if it was a kickabout you wouldnt, why should bands be different? The problem here could be that the guitarist doesn't know which type of band he is in. Jonny

This is a super interesting thread Andyjr and Jack...

I'm no expert, but surely this only applies if you use the vehicle in the commute to your (main) job or as a commercial vehicle? If I am a bricklayer and a DB player in a dance fusion band which earns ££. I only have a smart car which cant fit my DB in so i get picked up everytime in the band van, my main employment is bricklayer I cannot see why declaring my second job is relevant on any claim. If I own and drive the band van instead of a smartcar and I am the only driver, then yes I can see the relevance, especially if I am on my way to/from a gig, likewise if its my only employment I can see the relevance. In the claims I have had, other than when the person who hit my car and drove off accused me of driving while I was 9 miles away working in a call centre I have never been asked what i was doing/my employment history other than was I on my way to work. But I may be lucky there.

scott was a big part of what got me into Zappa, that intro to whats new in baltomore...wow...but those lines on Roxy and Tom's growly tone is amazing...if Scotts seat is taken, I'll go for Tom's.. Billy Gould is a good shout...I also forgot about Eric Avery in Janes Addiction...and Michael Henderson with Miles Davis though

If everyone is lining up for Scott Thunes, I think I'd go for Tom Fowlers time with Zappa as I love Roxy and Elsewhere. Or Id want to be Tony Levin...Paul Simon, Peter Gabriel and King Crimson..yes please..

Fair enough, while in 30 years of gigging I have, or in the very early days of using multi effects at least I should have and not used a horrendous sweeping filter on a certain frequency. Thats one of the things isnt it? theres no hard and fast rules..soundscapes are all different. Jonny

Sorry Perhaps i should have been clearer, you may need to edit the sound depending on the room/stage/area sound of your gig. which is why the soundcheck (i think) becomes more important. Ideally all edits would take place in the comfort of your rehearsal space/studio, but unless you are in complete control of the sound at the venue, there is a chance some at the gig tweaking is required. At least thats what i have found. Jonny

I kinda agree with Bigredx, although I think with multi-effects being more difficult to edit on the fly soundchecks become more important. Currently I use separate pedals, but I keep looking at mulit-effects simply for the ease of programming and storing time and modulation based effects, then using my analogue filter/octaver/distortion effects. best of both worlds sonically I think. jonny

Amazing live sound and build quality, I’ve owned three (2 fives and a 4) find the body shape and size are not ergonomically good for me, but the sound live is fantastic. Only gone as my ACG is more suitable for me.

“People say the quality went down hill after this year/model/buyout”

I won’t comment on my ACG, as it’s a bit different with the filters. Passive PJ, P volume full, tone fully open, j pickup about 75%. Active jazz, both pickups on full, touch of bass boost, flat treble.