Lozz196

You live & learn, puts a slightly different perspective on it, which is nice.

I like the look of the new Original, based on that it looks, well original whereas most amps have a very similar look. I’ll certainly be interested in hearing one as although I love my RM500 v2, the added valveyness of the Original way we’ll be to much of a temptation.

Did you go thicker or thinner gauge on the strings, if thinner that will have more if a noticeable effect than pretty much anything, especially combined with the old to new aspect.

Good review of all aspects on each amp, nice to see how the Taurus was chosen. They’re a brand I’ve not used but did see the bassist from The Skids using a very lightweight and very great sounding Taurus stack when we played with them.

I watched a bit of it a few weeks ago and quite liked it. If it weren’t for the fact that I really like The Voice, which is on straight after I’d watch The Masked Singer but two singing competition shows in a row is too much for me.

I used to use the Roto 50-110s and had a very low bassy sound, switched to 45-105s and midrange growl was suddenly there, may be worth a try before a pickup swap?

If I had a problem with intonation as described I’d set it so the lower frets were “in” as that’s where most of my playing is. 12th fret, why I’d get nosebleeds up that high.

Congrats, am sure it`ll sound great with the Two10.

Agree, apparently Keith Richards played bass on a good many of The Rolling Stones’s songs. From what I’ve read Bill Wymans theory was that if Keef had written a great bass line for a song then he may as well play it on the recordings.

Currently got to learn a whole bunch of songs for a jam with some mates, but the one I’m presently working on is Tarot Woman by Rainbow, great song with a really nice groove to it.

The Geezers are very well thought of, not used the myself but not read a bad word about them. Vintage and old-school gnarly, well the Fender Custom Shop 62 is a good choice for that. Also if changing pickups then changing pots/jack/capacitor is worth doing at the same time. If not confident with soldering Ki0gon on here does wiring looms that don’t require solder - they’re a good upgrade on stock Fender Mex parts.

I’m getting that way with the Stingray you sold me, Tom, I feel like a traitor as I’ve been a Fender Precision man for years but the ‘Ray is just doing it all for me at present.

That is a beautiful looking bass, congrats. Re the pickup issue, I don’t know much about Laklands but why not contact them see if they do something with a similar sound that fits the config of the Sandberg?

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....,,,