Lozz196

Was a really good programme, nice to see a lot of people I’ve met along the way on it (thinking audience members here, not so much bands). Nice to see some great venues and events covered too.

Imo there has to be at least one person in a band who will lead and point out when things aren’t sounding right. It’s simple coaching, only problem is many people involved in music are unwilling/unable to accept criticism. If you’ve tried this and still aren’t getting anywhere then I’d agree, time to go, but if there hasn’t been a leader/clear direction why not take on that role and see if you can get them to reach their full potential?

So the 2020 abstinence worked well for me then, not 2 weeks in and another new bass. But in my defence I am going to be selling 4 basses and 1 guitar, so I’m not feeling too guilty, Anyway, said bass, although I have a Squier VM77 that is great I wanted a US Jazz and saw this advertised on the bay so took a punt. Neck is slim as with Jazz basses, tall frets apparently though I don’t notice them being any different if I’m honest. Added a Hipshot Extender and A-string thingy, plus a black pickguard. I did quite like the minty green stock one but OCD dictates black to match my other instruments. Plays like a dream, sounds great with good difference between the two pickups. The slim neck means I’m playing with a much lighter fretting hand. Was strung with Ernie Ball Super Slinkies - that’s now two basses I’ve bought with these on and have to say I like them. So I now have the classic three, Precision, Jazz & Stingray, all in black/black/maple, plus one of those skinny stringed things (a Fender Tele 72 Deluxe).

Yep, and make sure when you put it back on you get a soft dry cloth to clean the neck and neck pocket of any small wood shavings, so it goes back on properly and straight.

I only discovered a few years back just how good Rush were as both a band and individuals on their own instruments. Sad news for the music world, as well as for his family, friends & colleagues of course.

Sometimes it’s what the punters deserve.....

Quite right, always think of the knowledge involved. Cost for hitting with mallet £5, cost for knowing where to hit with mallet £10,000.

Many of the 80s bands has great bass lines played by great bassists. I didn’t like much of that music at the time, being a teenage punker, but now really appreciate the musicianship of said bassists.

Teenage Kicks by The Undertones has to be a contender.

For the first time in nearly 20 years I’m not in a band and am really looking forward to having time to learn new songs and styles of playing. Horses for courses I suppose, your post ,CBassy, screams out to me the want to be in a band so I’d say just get out there to gigs and chat to bands. When I told my band I’d be leaving I still gigged with them for a further 5 months, 4 of which nothing was made public that I was going, however we were looking. You never know what the situation is in a band so never hurts for people to know you play and are actively looking for a good opportunity.

Great to see a company listening to what musicians want, nice one Ashdown - as always!

I’ve found that for my needs a pair of 210s is plenty enough, though my likes/wants are 410 & 210 minimum. The bigger stacks as well as looking great have a sheer physical presence that I’ve never had through a single 112/115/210, but as said this is likes against needs. Most venues I was playing had monitoring anyway (though I dislike bass in monitors).

They sounded very much like the Fender Custom Shop 62s to me, so low-mid rich.

That will rumble the chest cavity nicely through the ABM, congrats.

Good call, and the staff themselves could benefit by doing set-ups out of hours for customers, so shop wins by better sales, customers win by getting well set up instruments, staff learn skills that can earn them out of hours cash.

We’ve always tried to get best results from both car stereos and mobile phones, working on the same premise as Rick Rubin - if that’s what people will listen to the music on, mix it to suit those systems.

Agree. We work to the same way as has been described above, with the tidying up etc, but I do sometimes feel that it’s sterilising the songs somewhat. Sure, you get a technically perfect end product but I do think it’s taking away some of the magic.

We do something similar, but at a round 30/35hz. It really makes a difference, and we don`t use a lot of low-end in the first place. Maybe without doing it at 70 the Motown recordings - due to the amount going on - sounded muddy?

That’s a good call, Blue, I told my band I would be leaving back in August however we didn’t put anything out until Nov about it so no-one was aware. You never know what the situation within the band framework is, never hurts to chat to a good band anyway, whether or not they may be in the lookout for new members.

The venue we played in Hamburg on Dec 30 was apparently an asylum many years back.

Looks like a Dalek!

Those Behringer compressors really punch above their weight/cost, don’t they?

You can, just don’t turn either the volume or the bass up too much. Greenbacks are rated at 25 watts so you’d have to listen carefully to make sure you’re not pushing them too hard. For home use would be fine, and if looking for Ampeg growl maybe look at the PF20 or 50 - just make sure all the ohmage is right

Might be worth asking @obbm - I’m not sure if he’s still doing cables/leads but he may be able to point you in the right direction.

The Genz 212 - can’t remember the model number - was good when I heard it at the Herts Bash a few years back. Nice and light too.