Lozz196

I used one on tour last year and really liked it. I do however have a twangy/driven tone so was able to achieve the twang & grind easily whilst the HLFs natural lows stayed really prominent. I can see that someone wanting a traditional bass tone might find the low-end a tad overpowering though.

Me too, and given the last few actual Bond themes I suspect I will far prefer the above.

I def think the wood of the body of the instrument has more effect on the sounds of instruments. Years ago I looked at two Epiphone Thunderbirds, one made of alder, one made of mahogany. The specs on each instrument, going by the website were the same, yet the sound most definitely was not. Even Mrs Richards from Fawlty Towers would have heard the difference.

It’s funny as for years I too preferred rosewood boards but swapped to maple when I started playing very brightly lit stages, I found it easier to see where I was on them for some reason.

The thing is, for all of us who are willing to do it for free, we’re setting a very dodgy precedent which could result in those who either do it til time for a living, or who need the gig money to supplement their income no longer being able to do so. In effect by keeping the venue going we may be preventing a fellow musician from earning. Difficult.

Still looking at March next year for our one and only gig, rehearsed for first time since early March last night, sounded great.

Yes the light was flashing, I had a bit of drive set so no idea if the (possible) clipping was affecting the sound.

I’ve had the input gain on full on my RM500 this eve, and wasn’t anywhere near the red - apparently the pickups in the Professional Jazz aren’t that powerful, but I like their sound so I’m keeping them.

Sounds like a great band to be in.

At the SE Bass Bash a few years back we did a cab shootout and the Berg CN212 was the easy winner.

There’s a simple, cost effective, customer focused solution: Ashdown.

If you like Rotosound Swingbass try Warwick Red Label Steels, they sound very similar, last at least twice as long, and with some searching can be found for around £10 a set.

Glad it all worked out, and Bark at The Moon, what a song!

I had an ebony board on a Gibson Les Paul Bass, one of the few instruments I regret moving on. Was great, had a really rich yet detailed sound to it. Who knows, I might look into another at some point.

Mainly in the car, though on Sat/Sun mornings I’ll put a CD in and listen as I’m pottering about.

I wouldn’t enter that - or any - competition unless I wanted the prize. If I had said bass I doubt I’d gig it but I’d play it at home (all this said if I didn’t get on with it I’d probably move it on though).

We’ve got our first rehearsal on Weds, hadn’t thought of that but think it’s a good idea - especially as none of us sing anyway.

That’s right Mick, for pretty much every type of bass tried the rosewood fretboard version was the preferred option of the audience.

I’d say get the 210. I’ve not used one of these but have heard the 210 combo on its own and it sounded great, can only imagine doubling up on that.

So I now have two US Professional Jazz basses. My first has a maple fretboard and whilst I really like it it was a tad difficult to tame the top end, even strung with nickel rounds. So I bought one with a rosewood fretboard, and even though this one is strung with steel rounds the sound is much more even across the spectrum. Was fully expecting to have to take the steels off as they’re usually much toppier than nickels but no, they’ll stay. I went down this route as I saw a clip on YouTube comparing 2 Jazzes from the same range, one maple one rosewood and I preferred the sound of the rosewood one. Am glad I did, the new one is much better for what I want at present.

Once you get the yay (or nay) you’ll have to let us know who they are, I’m intrigued as to this.

Looks great Stew