Lozz196

Light, powerful, portable, sound good, hold their value, stronger than they look. Difficult to find negatives on them.

I’m not sure about this, in some respects it would be nice to have the instrument that had been played on a fave song/album, but on the other hand why, it’s probably no different to the rest of the batch that hadn’t landed in said heroes hands. As we’re all aware it’s the player in most cases that makes it sound how it sounds (I sound like me no matter what I play, whether or not that’s a plus point is another debate lol).

The DBS7400? I had one of those, great amp, paired it with a Marshall VBC412 cab, was a set up capable of blowing those doors off that Michael Caine spoke about.

When I started out all my fave bassists played Precisions, so it would seem obvious that I would get one, right? Wrong, for some reason I had many basses, some with Precision pickups, but never an actual Precision itself and I was always chasing a sound that I just couldn’t get (a dur moment spread across many years I’d say). Then one day I bought a Precision, got it home, plugged it in, and was sadly severely underwhelmed. But then I took it to band practice and it suddenly all made sense. Since then although I’ve had other basses I’m a Precision player, nothing else works for me like a Fender Precision.

Bruce Thomas of Elvis Costello & The Attractions & Graham Maby of Joe Jackson Both played very melodic bass lines that imo really added to the songs

Never heard The Sleaford Mods until this programme, not impressed, def not my thing.

And it’s always there in case it’s needed.

So far we’ve had two rehearsals, at one I used my Fender Deluxe Precision strung with I think GHS Boomers, the second I used a regular Fender Precision strung with steel Elixirs. I preferred this sound so the Deluxe will be getting a set soon.

It really sounds like it adds a bit of sparkle to the sound. Not tone changing exactly but just a bit of shimmer and life added in.

I use it, and then add in higher mids for clarity. In my band we’ve a humbucking guitar and keys so I keep out of their domain this way.

Tonehendge, love it!

I’m currently using either 45-100 or 50-105. Makes sense to me on a Precision having lighter E&A, heavier D&G, seem to get a better balance across the strings.

Some combinations just work like that, Fender Precisions & Ampegs/Ashdowns also spring to mind.

The biggest gig I’ve done was about 10,000 at an outdoor festival. Was through an SVT/810, that coupled with the monitoring was plenty. At the Rebellion Festival, where the crowd capacity is 2500-3000 again its SVT/810. Given there’s no actual soundchecking we always steered clear of too much bass in the monitors (gtr & vox more important to us) so the SVT took the stage volume and again it was plenty. Only needs to be as loud as the drums.

It’s amazing how a bit of kit that doesn’t exactly blow us away isolated can work so well in the mix, isn’t it? Glad to hear the trusty RM112 worked well.

I’ve played a couple and really liked them, though it was a bit more difficult getting used to the second one as it had the covers on over the pickups.

I’d be looking at borrowing a couple of Ashdown ABM410 cabs to go with my ABM600 head.

Now Gone For some reason my previous thread on this has been locked, so here it is again: I’ve got 3 boxes and a good supply of bubble wrap that is going spare. Willing to meet halfway to do a handover, up to an hours drive.

The fuzz demo reminds me of the Rhubarb & Custard theme tune sound.

You can’t join a Jam tribute band.

Same opinion here, ABM600, fantastic amps, powerful, versatile, not too heavy and that great customer service from a UK based company (not that I’m pro UK companies but it does make it a lot easier to take it there).

Toneriders, def worth the money, very similar to the Fender Custom Shop 62 (well the Precision ones are, not sure re the Jazz).

Well if the 74s are anything like the aftermarket Custom Shop 74s then I’d get those, they were really nice.

In my last band we agreed that all of the songs were written by all of us, irrespective of how much or how little input there was from each of us. The end result of the songs was only because of our individual inputs so it was decided that we all wrote them. As our singer put it, if we had a song that made us 10 million quid a third of that should be enough, and if all of our songs amounted to nothing then a third of that equally should be enough.

I’d take that as a backhanded compliment, a drummer will always (unless totally deaf or ridiculously loud) notice a bassist that they can’t play with. If they don’t notice you you’re doing something right, unless it not having plugged the amp in of course.