Lozz196

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.

The only "lesser" item I take to gigs is my Vintage Tony Butler Sig Precision, as a backup to my main US Fender Precision. It`s a perfectly decent bass, will cover me for a gig should I need it and it saves me having to take 2 expensive basses along.

Sold a tuner to Stuart. Good comms, swift payment, advised both when item received and once used, so all good, a decent transaction from start to end.

Double traitor 😆

I think Blues list is pretty comprehensive, and pretty spot-on if wanting to avoid waste of time bands that talk about being in a band, but don`t actually do much/anything. If the people in a prospective band passed that list then I`m pretty sure I`d be able to get on with them, unless they were politicos, on either side of the spectrum.

Note consistency is a factor, but ease for me is the main thing. When I started it was whilst punk & new wave were big, all the bassists I saw on Top of The Pops were playing with a pick so as a kid I just thought that`s how you did it. I learned to play a bit with my fingers but I prefer playing with a pick, it feels more natural to me.