Lozz196

Well given that neither the bass nor the player (and especially not the amp if it’s an SVT) have anything to do with the sound the audience hear then why not expect the Motorbikin’ Womble to be holding down the low end behind the curtains, just like he supposedly did on guitar for The Pistols 🤣

Yep, was probably Chris Spedding behind the curtain using a Daisy Rock.

Yep, having been to Barefaced HQ a few years back I can only imagine the increase in rates etc based on its location.

I’m having this happen with mine, maybe not 2mins but at least 30 seconds or so. After that it’s absolutely fine, no problems at all but was a bit unnerving when it first happened.

Indeed we have

I tried a Sterling by Musicman Classic Active a few years back that had a Jazz width neck, so assume there must be an original one with the same.

Must have had to Think Twice though……

I’m one of them Rob, felt a tad rough on Thu, tested Fri as felt very rough and there were the two lines of doom.

I get what @Dan Dare means, in my early 20s still thinking/dreaming of becoming a professional musician I met a fair few and saw how they lived. Not my cuppa I have to say.

Both of the covers bands I’ve been in were 45mins for first set, 15min break, 60min second set.

I watched this yesterday, very good I thought

Drive is one of those things that when you set it for home levels once loud and in a band mix it virtually disappears, so you need to up it a fair bit. I have this thing with my drive pedal, at home settings I consider far too much are unnoticeable in my band. The ABM amps are great in that it’s fine to push any of the controls to get the desired tone, not the type of amps where you have to worry about overloading (well I wouldn’t use the Shape and then boost all bass sliders fully but I’m sure you get my meaning).

Great sound

I was gonna post one of those, their version of Rosalie

That is really nice, always wanted to try a ‘Ray with 2 pickups

I think, from recall, one of the reasons ads use older songs is something to do with publishing or ownership rights.

If you`re not noticing a weak G I`d leave as is with the 45-100s.

Too far for me but would love to do this

A regular US Standard at £750 would be a good deal, no chance this is legit. Maybe in the small print it says “photo of 68 Jazz bass”?

I suppose I’m fortunate enough to have recorded in so many studios with different engineers that my preferred methods are whatever they want to get the best results. I’m yet to work at a studio and come away thinking I hope I never record in that manner again. But this is the experience of nearly 40 years, I do remember absolutely bricking it the first time, it was such a big deal to me. So inevitably I messed one song up which fortunately I managed to bluff it and kept in key (going back to late 80s, no copy & paste back then).

I think the name sadly/probably consigned them to the sniggers bin, as from what I`ve heard from them they were pretty good.

I’ve had the ABM600, currently got the RM500. For me the gain on the ABM was more like a “thickener” to the sound, making it warmer, chunkier and with more harmonic content, but never overdrive or distortion like. Whereas the gain on the RM is more (to me) like a distortion pedal, as such I keep it about 9 o’clock to add something in but any more than that I find to be too much, all I’m after is a bit of break-up, any more and it’s getting Lemmy. Might well be the sound you’re after though, from your description above.

After years of being “advised” on what to do with backing vocals I’ll now sing what I think is appropriate and if it’s not liked I’ll stay quiet. Having listened to the band I no longer play for and their backing vocals I’ve reached an understanding of what not to do - which is listen to the advice.

Was my thought too

A Strat, they’re the guitars I play best, but has to have a humbucker in the bridge.