Lozz196

One of the best voices ever, effortless and so natural sounding.

Yeah, The Members weren’t up to much when I saw them.

I find them both pretty good at light settings (no more than 10 o’clock). The drive adds a nice bit of fur to the sound, with extra sizzle and harmonics, and the compression smooths and evens it all up a tad. Like this they both add to the sound but without significantly changing it. Also, as @BassBunny mentioned above, there are ABM users on the RM thread (I’m one of them) and the RM amps favour very well amongst us.

It doesn’t just happen to bassists. At a punk festival last year an ex England football captain was trying to get backstage - he had the right pass and everything - but one of the security guys wouldn’t let him through and had to radio through for guidance, didn’t recognise him at all.

Pretty much like my old band then, our record company was in Germany and we had started to do a lot more work over there.

I think my point/question has been missed, so maybe it needs to be more blunt: Are any of us on here directly affected by this in our bands? Theres no hidden agenda here, I’m just interested to see if any of us on here would have been ok with the 90 but that the 30 would make things difficult. For what it’s worth this new ruling will make things more difficult for my old band, as we only ever did 5 or 6 day mini-tours, however knowing them they will find a way to work with the new constraints.

Yeah I get that Pete, it was more my inquisitive nature to see if any of us were fortunate enough to be in bands that did such long tours (as that usually is an indication of success).

I’m a tad unsure on this re musicians being able to play within the constraints, where the UK wanted a 30 day limit, the EU 90 days. Would any of us on here have found the 30 day limit to be unworkable for their bands.

Although you’ve gone the IEM & DI route, having an actual amp that can do the whole gig/rehearsal on its own is an extra piece of flexibility. You loved the Markbass so I’d look at getting another.

Oh I get that Dave, personally if I buy something on here if I sell it I’ll only look to recoup what I spent, even if market value means I could get more for it. However if an item was up at correct market value that I wanted it wouldn’t bother me if the seller was making a profit on it. So in summary, I’ll never become rich via buying/selling on Basschat.

Pretty much the same for me, I know up to how much I’ll pay for something, whatever it cost the seller isn’t really my concern.

I’ve got a Broughton Hi/Low Pass Filter pedal on its way, can’t remember being as excited about an effects pedal before.

There was an 1100s on EBay for a fair while at £850. It was a black/semi sparkly finish, I remember lusting after those in the late 80s when I had my natural finish one. If it had been the same price as other 1100s up at the time (around £500) I’d have probably bought it.

Agree, Road Worn fits the bill, with the added bonus that I don’t think I’ve ever read a bad word about them, certainly my limited experience of the RW Precision backs that up.

Well now that @neilmurraybass has put up his score to Fool For Your Loving I’m going to take a revisit and learn it properly - or at least get as near as I possibly can that is.

In my last band I got recognised quite a bit at gigs, but to be honest in the punk scene everyone is pretty much the same, some of us are in bands some of us watch bands but we all mix & socialise together, def no “us & them”.

Agree, Nik, we need some young scruffy ‘erberts with guitars to make a racket and bring back some noisy music to the masses.

I’ve actually spoken to people at gigs my old covers band were playing and been asked if I go to see the band regularly as they’re quite good! But at a festival my punk band played some guys asked if they could have a photo taken with the band, and handed the camera to our drummer to take the photo. Did he not like that. Seems it’s only singers and guitarists that get recognised all the time.

What about plenty of knobs with guitars on them?

Motley Crues version of Helter Skelter is pretty good

And mine, an amazing version.

Even if not providing a groove the bass brings a depth to the music - think about guitar, having a “bedroom sound” that is full, with a depth to it live usually translates to rotten mush, it needs to be sharper to come through. At that point the bass is there, bringing the depth that’s needed, and in many genres providing that groove as well. A good genre for that is Motown, remove the bass and even with those fantastic songs and great singers, well, not too sure myself.

Good call. I’ve got the RM500 EVO II and have had the EVO I version as well - moved it on for the EVO II for the dull finish control plate as middle aged eyesight found the shiny EVO I difficult to see on stage. For myself I’ve always used mine flat with my Tech21 Para Driver providing the eq & drive. I used it - when I had to use my own cabs - with either an Ashdown ABM410 or two RM210s. Other than that it went into whatever cab was at the gig, and it’s one of those amps that sounded good through all of them. I found that leaving the eq on the Para Driver alone and just using the bass control on the amp to compensate for boomy cabs/staged worked the best.

Which band was that, Chris?

Def worth keeping it open for a saving of £120!