Lozz196

This has happened to me before, and as usual Bill is, as above, spot on, I reduced the lows and the gain a touch and all was well.

Looks great Dave, and I echo the thoughts re the black plate, proper 70s look

Saw this earlier, not good, hope he beats it

At a gig we did our singer had throat trouble so we tuned down a step to Eb and although my bass took it fine (I had fairly high action) I really didn’t like it, the strings just didn’t seem to play well at all, reduction in tension made them feel just wrong.

Bought a stunning 5 string Fender Precision in my fave black/black/maple from Andy. Great transaction all round, good comms and we did the handover in time honoured tradition at a motorway service station, where we had a good chat re basses etc.

‘‘Twas the IRA. I’m not big on murder so I walked. To my shame actually as the guy had been through a terrible 3 or 4 years, I should have stuck around and been a better mate, offered support but at 23 I didn’t have the maturity to do that.

Provisionally speaking, neighbouring green “friends” of the 70s & 80s

Happened to me once, won a bass at the reserve price, seller contacted me to say the volume pot wasn’t working, wouldn’t be fair to sell it to me so was withdrawing it. I could have argued as a volume pot isn’t a huge cost but at that point I didn’t want the seller to have any of my money, irrespective. It was advertised a while after with a surprising lack of boasting about the shiny new volume pot it surely must have had.

Having been in many originals bands, and having left one because of the singers increasing far left politics and support of a specific terrorist group, yes, my veto was ta-ta, hope you’re happy with your hatred. Many subjects I wouldn’t put up with and if the songwriter insisted on keeping them then I’d leave, no hesitation.

Yep second hand Marshall MB, Fender Rumble, Ampeg BA, Ashdown After or AAA ranges, all will be plenty good enough for home use and none should be too costly, I`ve had all of the above and for the 15 watt/8-inch speaker versions they`re usually around £50.

I often go to see The Drifters (my Mum is a big fan), and many of their songs are about situations such as waiting for girlfriends at the school gates, or making out after school. Sung by blokes in their 30s/40s. And you know what, none of the audience seem to give a hoot, they just sing along ,dance and enjoy their fave songs being played live by their (current line up) fave band.

Thanks Mick At present I`m tending to play it like a 4 string, only using the B when I need a note lower than open E, but that`s due to it both being new to me so getting used to it, and through a practice amp with 8" speaker anything lower than this isn`t that great. I may well put a round-wound B on it for greater clarity, something that Dave Swift does (or at least was doing). Re the 4s - I picked one up yesterday to gauge the action height and it was like a childs toy, how I ever thought a 4 string Precision neck was fat I don`t know, it was like a toothpick!

I’d reckon that most drunk people in the pub will care less about the lyrical content and just sing along if you play them well. Until this thread I had no idea what Delilah was about and suspect that will be the case for many punters. I’m with the @MacDaddy school of thought on this, especially as I’ve played Last Caress by The Misfits and didn’t really mean what we were singing.

I’d look at whatever the current version of a Zoom B3 is. I found that the preloaded effects were just too full on but editing them was incredibly easy, and then it became a very useful bit of kit.

I think he’s currently with Noel Gallagher and yes, is a Fender man.

And people take a pop at Fender……

Apparently Bill Wyman had a similar outlook in the Stones, with Keef or Ronnie holding down the low end.

I think I’d prefer to have the option of studio than in front of thousands of fans, although I can play it easy enough remembering which bit is where flummoxes me when playing it with the band. I play all the right parts but I’m sure they’re not necessarily in the right places.

Definitely, we do I Was Made for Lovin You and there’s a lot of fills/runs in there that might not be expected.

Aaaarrrghhhhhh

I think B, E, A & G are Dunlop, D is Fender going by the silks. I prefer the feel of the Dunlop’s, though at home practice volumes I can’t tell any difference in the sound. I don’t know why but this bass just seems to sound right with flats whereas every other Precision I’ve put flats on didn’t do it for me - maybe they’re properly played in.

Well in my old band (2014 to present) we built our fan base by going back to basics, gigging all over the country first to build a fan base then extending it to Europe. Funded all our recordings, merchandise and travel from gig fees and merch sales. Ok we weren’t a “big” band but the principle still worked and for three middle aged blokes making shouty music we achieved a fair bit. For bands both prepared to put in some hard graft and not take any money from the pit but invest it back in the band a lot can be done. I wouldn’t say the old ways were gone, though post COVID is a different matter, grass roots will take a while to build up again.

So, new bass day for me, a Fender Precision in black/black/maple. So what’s new I hear you say? Well it’s a five-string Precision, that’s what’s new. I’d seen this on here for a while and although never had a fiver before it’s my preferred brand/model/colour scheme, and as I’m not in a gigging band at present should I join one and then need a fiver it made sense to be prepared. Plus it would have really irritated me if that happened and I’d passed on this one and had to get a fiver that didn’t match the rest of my basses (CDO is a terrible thing, I even have to arrange the letters properly/alphabetically). Here it is, currently strung with flats and they just really work, more than likely I’ll keep them.

Those boomy stages are one of the reasons I used a pre-amp pedal. DI from the pedal so FOH gets the right bass sound (a flat eq Precision would have messed up the sound of our band beyond belief) and I could then use the eq in the amp to compensate for the stage/room for on stage sound.