Lozz196

I’d love to try IEMs out. But for my gigs, which are mostly 3 or 4 band bills with sound check only for the headliner, and line check for the rest through whatever provided back line is there I can’t see it being doable.

I’ve only left 2 that then folded, other than that replacements found/bands carried on. 1 - glam/heavy rock band. We’d been together for about 7/8 years, different lineups etc. We were gigging 3 maybe 4 times a year at that point, not enough for me so I went elsewhere and got a position in a regular gigging band doing punk covers. As they had a full calendar they had to be my priority. 2 - the punk covers band. They’d already been around for a while, we managed a few years, split for 6 months, reformed but it wasn’t the same. The guitarist could only do 4 gigs a year with 2 rehearsals for each gig due to his wife telling him this (turns out he and the drummer were forming another band which she seemingly didn’t mind, or more likely the afore mentioned limits were nothing to do with her at all). As such where we were super tight & good we became average so I left and the band folded. From those ashes the singer and myself formed Knock Off, the most successful musical thing either of us have ever done.

I get the thought that they’re tools, after all they are. But having been an engineer I never had the same attachment to my spanners as I do with my instruments. First set up on Brown & Ward or First Rebellion Festival. First fix on the Wickman or First European Tour. First time I worked alone on my section or Recording 3 killer albums that all got rated highly by Vive Le Rock. So yes tools they may be but I never gained a great deal of enjoyment from my spanners, my basses however…..

Sadly I’ve been there (no idea why you wouldn’t lend me your bass 🤣). But seriously, gigs like that are just a right pain in the donkey.

Yup, erase erase erase, much like the way The Daleks do in Dr Who, anything that doesn’t conform must be eliminated.

I use a guitar Mono M80. Not cheap but neither was the bass so worth it imo.

Some venues really just don’t have a clue

Not sure specifically about the Para Driver but when I had a small pedalboard with a BDDI on it I used to leave a jack connected and it was fine. Def worth buying a cheap battery to test this though.

For me it would be one high end bass providing I wasn’t in a gigging band as would always want a backup. If I were in a gigging band I’d be stuck with this either or situation as I know I’d sell most of the lower priced instruments in order to get at least one US Fender.

I’ve often thought that the Jazz bass growl has a lot to do with low action and digging in so getting fret rattle.

Just got in from rehearsal with the classic rock band. Went very well, are now working on Led Zeps Kashmir, a great song made rather more difficult when it’s played without vocals. But we’re getting there nicely with it. On a personal point I’d recently changed strings on my MIJ Fender Mustang from Elixir steel rounds to nickel rounds and they really work with this bass. So a great evening for me.

I’d say drop Dave Green at Ashdown a call and ask for his advice.

I`ve had both, and certainly the 12s have a greater clarity on the notes but for me after a while I found this to be a bit sterile sounding so moved to the 10s but annoyingly I couldn`t coax the aggressive highs from them that I wanted, it was a case of near but not quite, so I went back to the 12s. Bear in mind my sound was like a cross between Lemmy, Duff McKagan of Guns N Roses and JJ Burnell of The Stranglers so I was after a lot of aggression. For anything other than this I`d choose the 10s over the 12s, as to me they have more "bass cab character".

Yes the Fender flats on one of my basses are a fair bit lighter. Maybe these are just very old and have darkened over the years?

Two (or more) preamps is fine. A good few years ago I used an Aguilar Tonehammer DI for the tone and drive, then added in a Sansamp with everything at midday to beef it up (a trick I was shown by our producer).

Many congrats, I had one of those (the 7400 version) and it was a truly awesome amp. I paired it with a Marshall VBC412 cab and the sound was immense.

I remember that presentation Jack, I’m sure we all looked young(ish) back then.

Was the same for me when I was in Knock Off, I always thought that a 30 - 40 min set was best, full-on and unrelenting.

Good venue

Yep, I`ve just started to get arthritis in my left thumb, I`ve found that playing a Jazz width neck is easiest on it but bizarrely playing my thickest necked Precision is also ok, it`s the medium sized necks I`m having trouble with so it`s clearly how I position my thumb on those that`s the issue. As such I`ve got a bit of work and many years of unlearning to do.

Uber cool, would love to know that Cliff had owned one of my basses.

Yep, I read that Mick Jones of The Clash (and many others at that time) used their grants to get guitars and much of their college/university time to learn how to play.

It wouldn’t bother me if: 1 - the bass played and sounded great 2 - more importantly I knew about it before the purchase. I’d be a bit miffed to find out about it months down the line.