Lozz196

On us, how very dare he tease us in this manner!!

Just got back from rehearsal, first time I’ve used my RM500 EVO2 with the band and it sounded great, if anything I need to tweak it to reign it in a bit. It was through an Ampeg 810 though. Shape in, touch of compression & drive. Might either take off the drive or put a set of Rotosound flats on my Precision, reckon for 70s classic rock they should work nicely with the RM.

Yes nice lows but again not the super modern type low lows that we hear now, more like the low end of say 70s & 80s bands, such as The Jam, Duran Duran, Wham etc, lows that were heard as well as felt.

I had the 210 and 410, as per their name they’re much warmer/softer sounding, less clinical than the Compacts/Midgets etc. You can add highs to them no problem but that sharp modern top end doesn’t come through as that’s not their game.

Looks great Dave

All good advice, particularly number 5, I think a lot of bands/musicians forget that that is an essential part of it, especially for originals bands.

Good call, I use 45-100s or 50-105s now which I find sounds a lot more balanced than the traditional 45-105 or 50-110.

It’s pretty serious money, and when you can pick up a used US Precision for under a grand, well I know where I’d look to spend.

In general I cut mids too, might boost hi-mids (only over 2KHz) but playing a Precision I find I have low-mids in abundance so cut them. Especially if in a band with a guitar using a Les Paul, too much clutter.

A nice amp, the MAG600

When I joined my old punk covers band I was already in a band, a band which didn’t gig much (hardly at all). The punk band asked how this would affect them, I said it wouldn’t as as they were a regular gigging band (pretty much every week) I would give them priority and fit the other band in where I could. They were straight with me, they didn’t want someone who couldn’t rehearse/gig every week and if I wanted in I had to be able to do both. Nothing wrong in being clear about what is wanted from band members, especially if a band is replacing someone.

I dunno, without The Sex Pistols I’m not sure my life would have been the same. I probably would still have become a musician but not sure I would have had the passion that I have for music had those unlovable spiky tops not swore their way to notoriety.

My old Kia C’eed Estate would fit a good deal into the load space without having to put the seats down, 2 x basses (in Hiscox hard cases) 2 x Ashdown RM210 cabs, amp head, bag or box for leads/pedals easily.

I do think these prices are getting a bit high. If you price a new Mex Fender above the second hand price of a US one…….

I’ve found that I need to have the pickups under the E way lower than the rest, at least 4mm lower than the A to start with, then adjust once with the band to get it right. At home on a small practice amp this generally means that the E is weaker but on a gigging rig it’s then where I need it to be.

I’ve used the big triangle Dunlop picks, first Tortex, now Ultex for years. Much easier to keep hold of and as they’re triangular 3 picks for the price of one so if they do turn whilst playing less of an issue. The Ultex have a more modern defined sound to them than the Tortex imo.

All Those Wasted Years by Hanoi Rocks, pretty much never out of my car stereo in 1986 No Sleep til Hammersmith by Motörhead, for the non Hanoi Rocks moments of 1986 Filthy Lucre by The Sex Pistols, their comeback gig in Finsbury Park in 1996, was a great gig

I like it when companies operate like this, you can get a true idea of the products if artists buy then use use them rather than just taking a cheque for the next 2 years or so.

If I find one click too quiet/second click too loud I choose the second one and drop the input gain to suit.

I watched this a few weeks back and was just knocked out by the standards of musicianship of all of the performers, and especially noticed how much Lee was enjoying himself.

Looks more like some sort of prehistoric fish to me, what was it, a coelacanth?

I can’t really think of anyone, but I would have liked to have worked with a band who were on the same wavelength re production/mixing. Who knows the opportunity may still be out there.

Looks great, Markbass & Precision a great pairing imo

In my old punk covers band the guitarist used to get all the right sounds/effects. He had this big TC Electronic multi-fx pedal and was pretty swift on the changes. We found that it was worth rehearsing like it’s a gig so he could get the swap over time down.

I like sunburst, for me these three just work: Burst, gold, maple (50s) Burst, tort, rosewood (60s) Burst, black, maple (70s)