Lozz196

I can’t think of anything irritating with my current gear, but I do dislike: Heavy cabs/combos with only a handle on the top. Cabs with those flap out handles on the sides, rather than recessed solid handles.

I saw that one and was very tempted, it just looked like a great bass.

Always thought that was a good idea, maybe not so much on bass but for guitar definitely, especially to people like myself with middle aged eyesight.

The Star & Garter is a great venue, just down the road from Manchester Piccadilly train station. They have some great gigs there, def worth checking out.

Along with Complete Control that's prob my fave Clash song to play as well.

I’ve recently bought basses with EB Super Slinkies on which I really like, anyone offer advice on how Elixirs compare in regards to tension & feel with these (as like the idea of strings that last a long time)?

I think it all boils down to: Are a band good live (that’s where/how they get fans) Are the bands songs good/memorable Does the recorded material do the band justice (does it sound like them, and live can they sound like it) Are the band aware of the favoured format that said fans would like to buy their recorded material (if they want CDs, focus on vinyl at peril) Are the band able to sell said recorded material both online and at gigs For me if a band can’t manage all of the above, to get success it would have to be extremely fortunate. Getting all of the above still however doesn’t guarantee success.

We’ve worked with a great producer - Pat Collier, former bassist with The Vibrators. We chose him specifically given we liked his production on other bands that we like, UK Subs, Booze & Glory, The Last Resort to name a few. We knew his sound would work well with our sound and it turned out to be the right choice as he made our albums sound exactly as we wanted, like us but with his signature production sound. So I’d say working with a producer is def worth it, but choose wisely, do the required research and get the one that will work well with your band/sound. And also have a clear understanding amongst all in the band as to exactly what you want, nothing worse than a band who don’t know collectively what they want, how can a producer work with that?

Exactly, equality has to mean just that.

The longest day....,,,

Knowing my ocd I’d have to look at the Ampeg, figuring Ampeg tone into Ampeg cab had to be the right thing to do.

Much more busy/complicated than I would have thought. Think I’m going to learn it, looks like an interesting bass line to try out.

I spoke to them on Friday, got straight through, then placed an online order once I had the info I’d enquired about. Not got the item yet, but wasn’t that concerned seeing as only Tue today.

Surely it should be the Oompa Loompa?

It looks great, really nice colour scheme

I’m pretty good at remembering songs. I’ve now left my band but will be standing in for them in a couple of weeks time, I won’t be rehearsing with them beforehand.

I didn’t know musicians could even earn that much..........

Tech21 Para Driver, play regularly and you can get the sounds you want, then dig in and get the drive/grit required. Their VT pedal also does this very well,

100 Club gigs are great, aren’t they, one of my fave venues.

The Big Bang Theory connection is genius, well done!

I managed to get to 04 Jan without buying anything. I’m obviously rubbish at this task.

That`s a beauty, ead, good luck in your quest.

I’m a fairly heavy handed, hard hitter, so on my gigging bass my action is 3mm at 12th fret, with steel rounds. I don’t think it’s that difficult to play. I have just bought a couple of basses with much lower action and have to admit it makes them a doddle to play, but that wouldn’t have suited my playing style fit my last band.