Lozz196

I find that on quicker complex material my fingers fall all over themselves on a Jazz. This is probably due to my many years on Precisions so I’m used to the extra space.

For weddings gigs, which are very well paid and in general you’re the only band I think it’s better to have the gear to hand and never need it than the other way and potentially ruin someone’s big day. As well as for the playing ability they’re paying for professionalism. I’ve only ever needed a backup once in 40 years gigging. Quite typically I didn’t have one with me, but it was a multi band bill where we mostly all knew each other so things went ok.

I’d look at the Orange Bass Butler preamp pedal in that case Clarky, that way you’d get a similar sounding item as your backup.

I’ve had both, the Keeley was easier to set up to an incompetent like myself, the MXR more fiddly but also able to do a lot more I would think. But in terms of sound both were very good. For a set & forget pedal to tame peaks & even things out the Keeley is difficult to beat.

Assuming using one’s own speakers in the rig where the amp goes I’d say one of the little amps, and probably choose the Warwick down to its greater power. If I knew I was playing gigs with FOH and good monitoring then it would’ve been the Sansamp route as easier to set up & carry. I have had to do this, when the provided amp for the gig had blown, I just plugged into the Sansamp, that went to FOH & monitors, we played barely noticed any difference to the regular setup. But of course if there were no FOH or monitors…..

At a gig I played last night the bassist in the 1st band used a Mustang, sounded really good.

I’ve never been able to get a Jazz to work for me in a band setting, probably because when I hear me playing I’m expecting to hear a Precision. I can get pretty near but it’s just not quite enough. That said I love Jazz basses, just bought one recently off of here, a great 2015 and it’s getting a lot of use at the moment.

I’m a bit different re this, all my fave players played Precisions, I loved the sound of them, so for some reason instead of buying one early in my playing career I bought different basses and tried to get them to sound like a Precision (none ever did btw). When I eventually got round to buying one it was like switching on a light.

That’s pretty much it for me too, Chris, whilst a song/songs might not be my personal choice it’s audience reaction that dictates if they’re in the set or not. In my old punk covers band there were so many great album tracks we could have done but most of the audience wouldn’t have known them, so we stuck to the Punk Top 40 in the knowledge pretty much everyone would be familiar with the songs, if not the original artists.

I’m not too bothered, just more glad I’m not going mad and remembering something that hadn’t happened

My current one does, tho I’m sure my first one didn’t.

In an old glam/rock covers band we did Born To Be Wild, I hated it but it always went down really well.

Up until recently I’d have said a black/black/maple Fender Precision, however I’ve realised that I prefer the sound of a rosewood fretboard - or at least I prefer the sound of my rosewood fretboard Precisions (which all sound the same) to my maple fretboard Precisions (which all sound the same).

A good match methinks, Dimarzios were the upgrade in the 70s from what I understand.

I`ve had the LM3 and the LMT (tube). The tube isn`t like other amps where you get a drive/gain to the sound, it just seems to add a "shimmer" to the sound, almost like an aliveness that once turned off you really notice. I thought the LMT was a great amp.

That would be my approach, makes a lot of sense.

In 2007 I bought a Les Paul Studio. I asked to try all of the ones in the shop out from the same range - they had three. One sang, one spoke evenly, one vomited on the floor. I bought the singer, but it was hard to believe how 3 identical guitars, all set up pretty much the same could differ so much.

I think I’d look at the Super Twin, I’d rather have too much in terms of speaker cone area than not enough. The BF 2x12 cabs are plenty capable of handling the type of venues without FOH PA on their own.

Yep, for me Rickenbackers were a big part of early punk - Simenon/Matlock/Foxton/James all played them - and I always thought they looked great, still do.

Same here, everything went back into the band so we never made any money, but this way the band paid for all hotels/flights/ferries/recordings/new merch etc.

I’ll bet that’s one great sounding cab

That is an exceptionally beautiful bass, Jack

Pretty much the same for me, just not keen on those at all.

Same here with the maple/rosewood thing, rosewood being deeper and less mid-focused imo.

Or look at the Events Section and see when the next local bash is - there are inevitably some US Fenders at these.