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Lozz196

⭐Supporting Member⭐
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Everything posted by Lozz196

  1. Every now and then I look at my fretboard, but due to strap length it’s just a cursory nod to the left, no need to angle the bass at all. I find the need to do this more when we’ve got really bright stage lights coming straight into the eyeballs. It’s probably more for reassurance than anything, and it’s also why I switched to maple fretboards as found rosewood ones too difficult to see on such stages.
  2. We have loads of different designs, and all have one of each but I rarely wear mine. The others in the band wear theirs often and it’s not like I think it’s naff or anything, it’s just I don’t seem to wear mine that often. Saying that though, am on hols in a couple of weeks and will prob wear a couple out there.
  3. I’ve flown a few times to gigs with Easyjet, bass in the hold, no problems. I use a Hiscox case which apart from full flight cases are probably the cases that offer the most protection. I also don’t use my main bass, preferring to take one of lesser value, just in case. But to date no issues though I have to admit the first time I was very nervous.
  4. Re Tonehammer query, I previously used one prior to Ashdown, with a Sansamp. to beef it up. I found I could pretty much get the the sound of the TH & Sansamp from the RM500 in its own (and of course from the ABM too). The RM does a very good ABM impression, in pubs & smaller venues/rehearsal rooms difficult to tell apart, but once you get on the bigger stages the ABM comes into its own, carrying the weight of the sound better.
  5. Yes, they do have them on the top, if your eyesight isn’t dreadfully middle-aged, or you don’t play very brightly lit stages you shouldn’t have any problems.
  6. I’ve no experience of the Darkglass but the Tonehammer is great if wanting a warm, vintagey, valley sound. Due to the immense hike in volume if you apply the AGS it’s not really any good to use as a 2 channel pedal but you could set a great eq sound from the TH then add in the DG for drive, or do the opposite depending on which pedals tone you prefer as your always on eq/sound.
  7. Was that a Kay EB-0 copy Ian? I had one of those, action about half an inch high, certainly made me appreciate a good instrument once I got hold of one.
  8. The only thing that put me off of mine was no fret markers on the board itself, other than that they’re great basses. I did a Duff and put a Seymour Duncan Hot Stack in the bridge, hum-cancelling plus a lot fuller sounding. I’ve recently been thinking about getting one again.....
  9. You can buy the foam from places like Amazon, make sure you search for the stuff advertised for use under pickups, as you’ve noticed it’s denser/firmer than regular foam.
  10. The MIM Classic 50s is a very good instrument so if these Vinteras top them then they must be incredibly good.
  11. I have to admit that in a live band mix I think that flats can really work - I just can’t manage it myself though. Totally the wrong sound for my current venture, but I’ve been playing rounds for so long now flats played by me just sound wrong to me, pretty much like Stingrays, everyone else makes them sound great.
  12. 1 & 2 for me, which leads into 5.
  13. Sounds great, I’ll def keep those in mind, especially for backup basses
  14. That’s interesting, though the post mentions two pickups, Kent Armstrong Hot Vintage and Dimarzio Area P -which one is the one you tried?
  15. Ah, I was hoping for a reply of “Get your trousers on son, you’re nicked”. in all seriousness it does look a plan though, I went there a few years back and managed to spend some good time checking all sorts of goodies out.
  16. Been watching the daily reruns of The Sweeney have we?
  17. When I was a young lad there was a song in the charts (Seasons in The Sun, by Terry Jacks) that had this sound that I liked, didn’t know what the sound was but listened out for it in other songs. Fast forward a few years I found out it was the bass, and at that time, when punk was at its height, the cooled - imo - people in the bands were the bassists. So the sound I liked was played by the cool people, good enough for me.
  18. Probably that to date I’ve never had a drummer say they can’t work with me. Of course I’m proud of the material I’ve contributed to writing and of the reviews we’ve had for both that material and live performances but you have to be able to gel with the drummer first and foremost. Am particularly proud of the fact that the best drummer I ever played with said that my bass playing made his job easier.
  19. Yep, been there, panicked unbelievably only for it to be something like that, hugely embarrassing.
  20. Yes, I’ve got those in my Vintage Tony Butler Precision and they are near enough in sound to the 62s for me to have not bothered swapping them out.
  21. You can’t argue with idiots, they’re generally far too experienced. Agree totally, they spend their whole lives like it, we don’t so are far too unprepared to deal with them when we unfortunately encounter them.
  22. When we’ve played in Germany, Belgium, Netherlands and Greece we’ve had to do the same as the Italian way, much better imo.
  23. I’ve just had a set of those 74s put in my Squier VM77 Jazz, Kevin. Fantastic pickups, much beefier than Jazz pickups are usually given credit for.
  24. That does look nice!
  25. It’s also a good move as it keeps the theme going for the whole night, rather than once the band is on a break a load of doof-doof starting up, singing about hoes and gold chains, or The Wurzels top 10 hits one after another.
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