Lozz196

Warwick Red Label Steel Rounds. At the price (just under £9) I wasn`t expecting much, but the sound, and the life of the strings has far surpassed my expectations. Similarly when I`ve bought Squier basses, and my current backup, a Vintage Tony Butler Sig Precision. Much better than you would think for a so-called budget instrument.

Why exactly are you moving the 210 on - if it`s just due to the weight then a lighter 210 would be my thoughts, and in this respect unless you`re DI-ing I`d agree with a Markbass 210 (Markbass cabs seem to have a high-end roll-off, so what goes to PA is much toppier than what you get on stage if DI-ing). If however you need a bigger cab then there aren`t many 410s around at under 25kgs that aren`t expensive - aside from (shameless plug) the Ashdown that I`m selling.

Def, really decent article that. Just goes to show that inefficient and poorly designed aren`t necessarily factors to be taken into account when it`s your ears making the decision. From reading the article you`d get the impression that everything was being done wrong and that the sound would be hideous, but drop that sound in the mix and all makes sense.

When I bought one of these I did a fair bit of reading up on them on Talkbass and the general concensus was that these amps need to be pushed to get that famous GK growl, and given the power of these amps at that point your ears will be more than likely bleeding. I only ever used mine with a Sansamp so got the drive from that

The trick is not to play with even rhythm all the way through, as it`s more like a (loosely) strummed guitar so sometimes it will be double-notes, sometimes singles. Given the sound that he made, I think many often over-looked Lemmys actual bass-playing, which really was like a rhythm guitar on bass. I have to admit his style has had a big influence on the way I play for my current band.

I think we`re quite fortunate on that part, there are no quiet bits in our music

Yeah you`re probably right there Mark, kinda goes with the territory I suppose.

Used properly it`s easily possible to do the bass amp/410 & Marshall 412 thing in a pub-sized venue, it`s the individuals using the gear in most cases that`s the problem. I`ve been amazed at how loud some bands play, to the point where it`s both painful to listen to, and where you can`t work out what is being played/sung either. Our dynamics are full power all the time, but then we`re a 3 piece punk band. We`re only ever as loud as the drummer, who although he plays fast isn`t particularly loud, which suits me fine. We have the 410 & 412, used to have smaller combos, which were just as loud but the sound wasn`t as full.

Pretty much the same for me, I was chasing a sound and all the basses I`d bought sounded good, but didn`t quite get what I wanted. I then decided after many years to get a Precision and suddenly it made sense, seeing as virtually all my fave bassists use one. That sound that was a bit "meh" on its own sat wonderfully in the mix, and did everything I`d been wanting from a bass. It`s got to the point where any bass in my hands that isn`t a Precision just doesn`t sound right to me, Jazzes and Stingrays particularly, I love them when someone else plays them but I just make them sound cack.

Yep, I was amazed at when hearing John Deacon, John Taylor, James Jamerson, at how driven and gnarly their isolated sounds were, yet how well that sat in the mix as warm and rounded.

Yes, a band I was in improved when both guitarists left. Originally one left, and I decided to jump to the 6-string seeing as I was writing all the songs. Then the other one left and a really great lead guitarist came in, allowing me to concentrate on rhythm guitar. The band sounded so much better imo, but then an opportunity for me to join another band came up which I took, and then realised where my preferences were so left the first band, which folded completely.

First off, welcome to the low-end. Onto business, unless you`re intending to use the Jazz/Rumble in a band scenario (where it won`t be anywhere near loud enough against any kind of drums) it will be plenty enough, with no distortion. I`ve had the Rumble 15 and it was too loud to have on full for home use. Similarly Squier basses are decent instruments to start out on, some pros use them as their main live instruments so nothing wrong with that choice.

It always amazes me when people manage to get a bad sound from a Precision - with most amps set flat they work well in the mix, and if you then eq them they can do so much.

Has to be the most realistic way of looking at it.

Imagine a job interview where they set a presentation that has to be delivered, and the interviewee decides to not do it. Two ways of looking at it I suppose, the interviewee is either supremely confident of getting the job irrespective, or certain not to. I know which way I`d see it going. I also know if I wanted the job I`d do the damn presentation.

Precision Bass as defined in the Oxford Dictionary - Without dodgy hair

Just sold a Fender Precision to Norris. Good comms throughout, as it wasn`t sold with a case we did a shady motorway service station meet halfway to exchange the goods/folding. Great transaction all round, only downside was it was too hot today to wear the regulation sheepskin coat that is required for all motorway service station deals!

Steve bought a tuner from me. Good comms, swift payment, advised when item delivered/used, all that`s good in a transaction.

Dave Green is a great guy, and has an amazing amount of knowledge over the range of Ashdown products. He helped me out big-time on tightening up the sound from my ABM410 - as above there was nothing wrong with it, it worked as per stock settings but I just wanted that tight/sealed cab sound, so that`s what he helped me out on. This thread is another plus point for Ashdowns customer service, which imo will reach legenderay status pretty soon.

P-bass Lyte, as recommended by @casapete is a very good call.

You shouldn`t need more than 5 songs, but at any audition/interview/sales-pitch you do what you`ve been briefed to do in order to get the job/sale. So in this case, learn said 11 songs and let them see "the real you".

High-register playing is def not for me, but I do love that song by Monaco, which imo is made by Hookys bass-line.