Lozz196

Sold a set of Hipshots to Etienne, great comms throughout, swift payment, advised when received, great transaction all round.

When I was at Ashdown a couple of months back the discussion got round to Sica speakers, more to lighten the load of my ABM410 than to increase power handling, and I was advised that they would make the cab sound "tighter".

5.5 miles for me, prob same for the singer/guitarist, and about 15 for the drummer. It`s nice to have a nearby rehearsal studio, we start at 5:30ish, sometimes I`m home in time for Eastenders (how punk is that?).

Pretty much the same for me, Blue, aside from I`m 52.

Yep, on a gig like this I`d ideally try to be invisible, as in play for the songs, be solid and do the job that we`re there for, making the band sound good.

I think it`s from a later model than a 51, once they started putting a bot of contouring in rather than just the slab body.

I know what you mean, Mick. I`ve been racking my brains deciding what basses to keep/sell, and have finally made my decision, being the three US Precisions that I have that have no mods at all, plus a Vintage Tony Butler Sig Precision as backup. I`d been thinking of different permutations, colours, value etc, and then realised I was looking at it all wrong, simply which do I like playing the most should be the question I needed to answer.

Great cafe/restaurant there too, the lady who owns it is lovely, really friendly, and the grub is amazing

On the originals circuit the main difference is if there isn`t a charge to get in - usually more likely in pubs than clubs - there is a mix of those who came there specifically for the band, those that go there for live music irrespective of who is playing, and those that go there all the time and don`t really care about music or not. If paying to get in then virtually all are there for at least one of the bands on the bill, and usually more - at least it`s like that on the punk circuit, can`t speak for any other genres.

Pretty much never got near, was in two bands both of which tried hard but I realised back then that I didn`t want to make it, preferred music as a hobby, and in truth at that time it was getting in the way of me going to the pub with my mates so I jacked it all in for about 5 years anyway. What I`m doing now is the most successful band I`ve ever been in, and again, no intention of doing it for a living, it`s a hobby and a great one at that, I`d hate for my time in this band to be felt as routine and something I had to do for money, rather than something I want to do for fun.

Re GK, get the 1001RB and you`ll have that clean punch for days, to get the grind from that amp you have to be pushing it and at that point it`s either stadium gigs or ears bleeding time. Even the MB range, Fusion especially will deliver a clean slam coupled with the right bass and cabs. The Fusion is a warmer, less clinical amp due to the preamp valves, but still delivers GK sound - unless you push the gain it`s still really punchy.

Pretty much none exist, Ben. A couple of me looking rather like Sid Vicious before the hair got longer, but none us took cameras around back then, we`d have just lost or broke them when hammered, which was every night.

Probably why they sound so punchy then. I had two, great basses. A mate of mine has one and he gets a great sound from it, via a Behringer BDI21 and a Peavey amp - not fashionable gear, nor expensive but a cracking sound.

When I auditioned for a punk covers band they gave me 5 songs to learn. But, as I already knew most of their set anyway, I made sure that I was up to speed on all of the songs, so once we got the end of the 5 nominated ones, I just suggested another one from the set til we`d done about 20 or so. I got the job. I think the advice of going for the 5 you already know is good, but learn another 5 as well as a reserve. And tell them the 5 that you`ve decided on before the actual audition so that they are also prepared - it`s a two way thing, if you tell them the 5 and at the audition they`re rotten at them, well that may make your choice for you.

Yeah, around 85/86 I had a look similar to The Cult/Hanoi Rocks. Rather ironically it was at a time when I wasn`t in a band but looked like I was in one, rather than since then when I`ve been in bands but haven`t looked like I was.

I don`t tend to make mistakes, but if I do I just let it pass, the main thing is to not beat yourself up about it, especially during the gig. But it will be noted in the memory bank and whatever happens at the next gig, I`ll be pretty sure to not make the same mistake again. I think one of the lucky things about bass is that if you hit a wrong note and you`re quick enough you can change it into a run on the hoof so to speak, so it sounds intended.

Not sure re the frets or heel size, but having had a Matt Freeman Sig, the Vintage Tony Butler is also based on a 70s Precision, so maybe Vintage could be worth checking out?

Silly money given the parts used

I was thinking of some form of Gallien Krueger for this. Edit - or maybe a Trace Elliot?

Being now on my third one of these, I can`t ever imagine the 500 watts of power that these amps have not being enough - and I`ve only ever paired mine with 8ohm cabs so never got the full beans out of it.I`ve just got to keep reminding myself that this really is the best amp for me as a backup/rehearsal amp and stop playing the field. Def the fullest sounding Class D amp I`ve had.

Very good instruments the Affinities, play much better than you kight expect of a budget instrument, great as a backup or to learn on - if only starter basses had been as good when I started.

Similar experience, played a gig on Satuday and our very own Bassix was using a Flea Jazz. It sounded very growly and not bright at all, rather Precision like if I`m honest, probably the most Precision sounding Jazz I`ve ever heard. Neck on full, bride on about a quarter I think Liam said. I had a go on it and it played very nicely too.

I had a couple of Schros, a 21012 with the 12 being angled, and a 410. The 21012 was bassier and seemed to project the sound everywhere, the 410 was a tighter sound but still projected well. The "famed" mid-bump was there on both, meaning they really worked in the mix. Strange cabs really, on their own, and especially at low volume I didn`t think that much to them but once in a band setting, well that`s where they really came alive.

Why not call their bluff and get everything set up but back off on your bass to the pont where it`s virtually inaudible, then when they tell you it`s still too loud ask them all to stop playing, then you play at your cut volume. At this point you`ll for one no longer have them blaming you for too much volume, and then not have to worry about buying ne "more suitable" gear. I emphasised that as your gear is fine. I think @bertbass may have hit it here, a keyboard player with a busy, heavy left hand.