Lozz196

The only possible thought to support his views is the ‘sound man who knows the room’ theory. I’ve worked on gigs with some of those types and that knowledge and how it’s translated into the sound of the bands performing, well I’d liken it to Steve Wonders knowledge of pastel colours.

I use Insure4Music. I’ve never had to claim so can’t comment on that area but setting up the insurance and the levels/prices all were pretty straightforward enough to deal with.

I can see his point for the sizes of stages that he plays, but having a Marshall 100 watt amp & matching 412 in a pub gig at full pelt only sounds great to people in the pub down the road. And even on big stages I’m not a fan of having the amps any louder than the sound of the drums on their own. I’ve been on stages where the sound-man has had a ‘festival pack’ for the monitors and it’s nearly blown my bl88dy head off - we quickly asked for all of that to be taken out, but it seems many bands want that kind of volume both through the amps and monitors.

I had a Duff Sig (older model, not the new one with blocks etc), and have played a Nate Sig. The Duff, although it has a Jazz width neck, was a fair handful, I was surprised at the depth of the neck. The Nate although a thinner than regular Precision, just felt like a good worn in Precision. Sound-wise the Duff is more versatile due to the two pickups and TBX option, additionally the Nate has Quarter Pounder pickups which I`m not keen on. I wouldn`t say either was better as in terms of build quality, playability they were pretty evenly matched. If I had to pick one I`d probably go for the Duff as for one I already have enough regular Precisions, so the added tonal options make sense, plus it wouldn`t require a pickup change to get rid of the QPs.

Likewise, I thought he did very well in SLF. I’ve seen them since with Ali back in the bass-fold and imo Bruce nailed it better. Not so much the playing as both are great, but Bruces Precision to me fitted better in the mix than Alis Stingray does.

Hope all goes well, studio work is great fun, have just spent the last 4 days in the studio recording our 4th album. Still got to mix it but got 15 tracks fully recorded (bass/drums/guitars/lead & backing vox) so are feeling rather pleased with ourselves at the moment.

I had one and it was very similar to the Fender Custom Shop 62. In fact I’ve just bought a Mex Player Precision and if the stock pickup isn’t up to scratch (they’re meant to be much nearer to the 62s than previous MIM pickups but time will tell) I’ll be getting a Tonerider for it, I was that impressed.

Rock may have nothing more to say but that hasn’t stopped people asking to hear it again. Look at Guns N Roses doing their Not in This Lifetime tour. And many eagerly awaiting the anticipated getting back together of Brian Johnson and AC/DC. Sure, nothing new but so what, if fans of great live music want to hear it, well that’s the important thing.

And watching/listening to George Michael singing for Queen, well they should have just handed him a blank cheque and told him the job was his if he wanted it.

As above, the AIDS benefit gig from 1992 on Pick TV at the moment , many different guest vocalists singing Queens best but as well as all that a great chance to listen to John Deacons effortless and sublime bass playing.

Not sure about at present but for the last whoever knows how long he’s played an MIJ 57 Precision.

Currently at the recording studio this weekend and they have a Squier Affinity Tele there which is quite simply one of the nicest guitars to play that I’ve ever picked up.

Had the pleasure of being on the same TV show as them a few years back. As a big fan of Bruce’s work it was a real “I’m not worthy” moment, but he was a really nice even though he must have been able to see my unworthiness.

Given that you’ve tried all kinds of rounds and killed them quickly I’d look at the Cobalt Flats as suggested. If they don’t have enough top end I’d then look at the Thomann own brand rounds, as they are very reasonably priced. If killing strings regularly, may as well make it as cost effective as possible.

Having briefly heard some drill music I think at 53 I’m the right side of 50

I’ll echo that, I had a Ray34 as backup to a US Ray and there really was so little difference between them it was quite amazing.

I’ve had the Aguilar Tonehammer and a Little Mark Tube 500. The Aggie I found to be like a slightly more modern sounding Ampeg. It had buckets of gain if required, and could be made to sound very vintagey. It could also do some very angry sounds. Not being a funk player I couldn’t comment too much, but would have thought that maybe the highs might not be at a high enough frequency for slap. The LMT I thought just set flat suited a traditional Precision tone really well. I always had the tube on full, it didn’t really seem to add any traditional gain or drive, just a smidging of hair around the sound which was only noticeable if then turned down - the amp then sounded sterile in comparison. Strange really. Using the filters enabled a good variety of sounds. I actually went from Markbass to Aguilar as I needed real gain/drive. I never had any problems with either amp not being powerful enough.

They are, and have fairly different sounds. The CS62 is warm, rich in the low mids and breaks up nicely whereas the Original I would describe as ‘woody’ having a presence in not high mids as such, just higher than those of the 62, plus it has less lows. It really does sound like the recordings of early bass, in contrast to the 62 which is a much fuller sound - imo of course.

You may have a point there. Given that I voted for You Know My Name and think that Casino Royale as well as being the best Bond film is also one of the best films I’ve seen I reckon you’re onto something.

Good to know they’re admitting it.

Stainless steel as I need driven/twang for my currently band and having tried rounds/flats and nickel/steel have found that steel rounds work best.

I love em all, but You Know My Name was a cracker.

We’ve never been charged this when flying EJ, just the regular in the hold costs. I reckon this was an in the back pocket charge.

And as per @BigRedXs post, if you have someone in the band who is capable of doing all of this then they are worth their weight in gold. Our singer does all this for us and without him we wouldn’t have achieved anywhere near as much as we have.

Given how many people rate that pickup I’ve always thought that Fender really messed up in not selling it separately, a real shot in the foot imo.