Lozz196

Yep, I use my M80 for rehearsals, but for gigs the Hiscox Lifelite comes into play. You never know at gigs if someone`s going to knock your case over, drop something on it etc, the Hiscox just provides that bit more but I seriously love the M80.

Update - tried it, didn`t like it, sounded too clean & cultured for me. In a 3 piece I need to fill out a lot of room, and trying this made the bass a lot clearer and focused, but removed a lot of the filling sound. ideal for recording, or in a band with 2 guitars, but not for my current band. I think I`m just too uncultured for this sophisticated sound stuff.

Yep, just about the only two compressors I`ve ever got on with were the on-board ones on an Ampeg PF500 and TC Electronic Classic 450. No fiddling about, just turn it til it sounds rotten then back off to suit. As has said you didn`t really notice what it was doing until turning it completely off.

Every other company needs to raise prices at times, I like the way they`ve put out comms about it, rather than just add on the quids without explanation.

I think it`s the difference between Jazzes & Precisions in general. I`ve found this, and to be honest, as a die-hard Precision player my ears are tuned to the P-bass, so setting up a Jazz eq in the mix just never sounds right to me, I can`t seem to coax those great tones out of one as I`m just expecting the Precision sound when I play - that might be part of the problem here maybe? The Jazz tone is much thinner in comparison, I did find that the Seymour Duncan Hot Stack was a good Jazz pickup, didn`t change the sound, just bulked it out and gave more of the same.

I`ve had a good few of the more recommended gig-bags, all good, but the Mono M80 is the one for me. I just wish Mono would combine the M80 and the Vertigo, as each have features that I`d like on one bag, but when push comes to shove the M80 gets it by a nose.

Yep, pick player, through a driven Sansamp, into an Ashdown ABM with valve pre, not much need for compression on my part, am sure I`ve got all I need with these.

So another factor of why that one plays and holds tune so well.

Nah, Lemmy was a fine bassist, bit unorthodox maybe but he did what was right for his band, can`t say better than that. And his solo line in Stay Clean is amazing, sure, not that difficult to master but it`s coming up with it in the first place.

My go-to is a Precision width 42mm, however my preference is for a deep neck, so as long as a Jazz neck has good depth to it that`s also fine for me. The 2015 US Jazz I had for a while had the deepest neck I`ve ever encountered on a Jazz and it was a joy to play. I just can`t deal with shallow necks.

We always make a point of seeking out the other bands to have a chat, say thanks if we`re using any of their gear, and unless we`ve got a real long drive after the gig, stay around for all the bands to offer support. Many don`t, that`s their call, but it`s just the way we do things. The only band - actually make that band member - to really keep himself to himself, and surround himself with bodyguards and commandeer the dressing room was when we played with Sham 69. The rest of the band were fine but Jimmy Pursey kept well out of the way, wasn`t rude or anything, just stayed with his security. And given the amount of trouble I`ve seen thrown his way over the years, I can`t blame him, though I do think that now the idiots that did that are a bit long in the tooth to still be doing so.

Not heard of this before, thanks for this contribution, will give it a go.

I had one, can`t remember which make, was great, took two Precisions comfortably, neither could rattle against the other as two nicely separated compartments. Was a really decent bag, very strong & durable. But............... I was just too weedy to carry it. Great idea, for the fit & strong. For me, a case in each hand works better.

Peavey gear sounds great, just a shame that most of it weighs more than a small planet.

Sounds like the type of chap who needs an audience for everything he does, probably hires people to applaud when he does the washing up. Idiots like that, they`re looking for effect for a reason - you guys were probably a lot better than he thought you were going to be, and in his mind he was jonny bigbollox that night, so you needed bringing down a peg or two.

I love how you`ve put this together Mark, very interested to see how your 70s Precision turns out.

For me the bass was the essential ingredient in ska, seemed to provide a lot of counter melodies to the vocals as the guitars were just doing that ska-rhythm-thing.

You`re gonna have fun with those, I had the same set-up a few years back and it was very nice indeed.

Not sure if they`re a bit overpriced for this thread, but I`ve found the post 2012 Mexican Fenders to be very good basses, and used you can get them £350 - £450ish. Ok not mega low priced, but really good instruments imo.

Given how faithfully BF cabs reproduce the sound it was probably a loose bolt on the stage that was being rattled by the amount of lows being shaken about by that BF cab.

Yep, when I was in bands that didn`t require DI-ing my Markbass rigs were great, excellent sound in the mix, really happy with them. It was later on when DI-ing that I realised this high-end roll-off.

I know when I was most recently - 2011 - temporarily bandless it seemed very alien and not a very comforable place to be. These things happen, Band A you did the right thing, Band B, well sometimes these things happen. I wouldn`t take it as any kind of meaning that you should stop being in bands, to me it`s only the closeness of the two events that could do that. If each outcome had happened 2 years apart you`d probably have a different take on it all. And late 50s is no age to stop, whilst not being quite there - early 50s for me - I`m having more fun now in music than I ever did at a younger age, and that`s in an originals band.

I`ve found that all of the 210/115 set-ups I`ve had have sounded great, but the great sound I got was a sum of both cabs, with neither able to replicate said sound on its own. For that reason I now stick to a 410 with dragging out a 210 from the same make/range for bigger gigs. Doesn`t make - from experience so far - any significant change to the sound, just more of it and at an easier to hear height.

It`s the Markbass cabs that are the culprits. I`ve found they have a high-end roll off that means whatever sound you get working well with them, when DI`d the sound is much harsher and treblier than you`d want. Many cabs are voiced a certain way - my Ashdown ABMs add in a lot of low-end, something I found out when I switched to them from Barefaced which really were as close to flat as I can describe.