Lozz196

There is a slight possibility of that Mick 🤣 My recommendation - providing you like a chunky neck @dmccombe7 - is for the US Standards 2012-15 Series. I’ve had Precisions from many ranges/decades/countries of manufacture and these ones imo knock all the others out of the water. They play and sound amazing. Pick up a black or white one with a maple neck, stick a black scratch plate on and you have a vision of the 70s. Dont know where you’re based but if it’s down south way you’re more than welcome to check my Precisions out.

Not sure about today’s music Jack, it’s so safe and insipid I think my great grandparents invented it.

Sounds like adding feeling to the song to me, may not be technically perfect but live music has to have a “feel” to it and this sounds a good way of getting it.

I read these posts and thank whatever is above for our drummer

I`ve been in a similar situation many moons ago, but with a guitarist. He was a great player but didn`t have transport, a suitable guitar, or an amp (guess who had to provide all of those) and wouldn`t set any gear up. He couldn`t learn songs, couldn`t remember where the solos were (after the 2nd chorus in every song) and his priority was to drink as much as possible on the way to rehearsal as well as once there. I didn`t exactly do the "it`s him or me", I just said to the other guys I wouldn`t work with the band whilst he was in it. Now in terms of sheer playing he was far better than me, when he played a solo it was sheer genius but it`s what he didn`t bring to the band that they concentrated on, luckily for me.They fired him. And he`d been a mate of mine for some 25 years at that point, so I did feel a bit guilty but as they say, it`s business, nothing personal, and that`s what this situation is. If it were the workplace this drummer would be fired pdq.

I really liked it with the tort plate.

I think it would be really helpful if amp manufacturers put what the flat settings if their amps were in the manuals. Would really help when choosing cabs etc, and especially if intending to go post-eq to FOH.

I’ve had a CV, good basses, got a V4 Tony Butler, great bass. If you like slimmer necks I’d go CV, if you like medium go regular V4, if you like a real chunker get the Tony Butler. Additionally the Vintage V4 TB to me just feels more substantial, it just has a real reassuring feel to it. It’s the nearest bass I’ve found to my US Standards in feel, playability and sound. And lastly there are a couple of V4s up for grabs on here at the moment at very good prices, serious amount of instrument for what they’re up for.

My two gigging Precisions have what I think is legit mojo, the knocks don’t look fake and even if they are they’re not too big/obvious so that suits me. To me legit mojo looks like accidents, fake mojo looks like someone has had to put in a lot of effort.

Can’t have a bass that offends punk sensibilities, just wouldn’t be proper 😀

I think it’s pretty decent to say the least, not sure why so many dislike it.

I think the Nords seem a bit more articulate, less muddy, but it’s precisely that lack of articulation which lends me to think the stock pickups would just have the odds in the mix.

Instead of looking at what he did from today, look at what he did from back then. His use of bass lines to fill out and work with the song was very different to how the bass had been used up until then. Even without him then singing as well he was a true innovator of a different style/way of playing.

I do think all of this is a shame really, the songs aren`t paedophiles, neither are (to my knowledge) the musicians that played on them. Even MJ himself wasn`t convicted of it. For me it just harks back to my earlier post, playing his songs could "excite" the local drunken idiots, and turn a good gig into bad one, all for playing a good song. Likewise with Gary Glitter songs. Not sure that many punters in a regular covers band venue would know Lost Prophets songs mind.

Yes it`s literally the last piece of equipment I set up, so it`s only ever in the bass while I`ve got the bass on. With playing a Precision and it being front mounted it doesn`t get in the way if I need to put the bass in a stand, though that doesn`t happen often. I can see why on a Stingray that might be a cause for concern.

If a combo suits more, as in less to carry about, Easy set up etc then I’d - same as @grenadillabama - look at the Ashdown RM210 combo. They’re light and sound very good. Also not much money.

Its worth checking out the Ashdown RM500, warm, lightweight, great sound. Doesn’t have a valve but it’s the - dare I use the word - heftiest sounding lightweight Class D amp I’ve had.

Agree, my little Marshall practice valve amp is 5 watts, but has a switch to knock it down to 0.5watts. And that is still too loud for home use at 5 on volume. Half a watt and I can’t even use all of it!

I’ve heard of someone saying that was all ok because paedophillia hadn’t been invented back then.

The Korean Squiers I thought were particularly good.

I wouldn’t play them, just an excuse for drunken idiots to start shouting paedo. Shame, the music should be entirely separate but thinks aren’t always quite so clear cut.

Plus a lot of the tone will be due to the pickups which can easily be swapped out. A lot of difference between the two, both Seymour Duncan’s but with the SH having the Steve Harris pickup, a nice middy pickup, the NM having Quarterpounders which emphasise the lows and highs, giving a scooped sound.

I had one, the 4ohm version. I really liked it and only decided to move it on and keep my ABM410 based on the (harder wearing) metal grille on the ABM and my OCD to have matching amp/cab. Truth be told I preferred the sound of the RM410, it was less low-end focused/tighter sounding, but this was in the rehearsal room, I never got round to using it at a gig so as to get a real objective view.

We’re Knock Off.