Lozz196

Same here, I decided I really should learn how to play fingerstyle a few years back, and it came in handy as my then band did a set where we played all our songs in a jazz-style, with playing fingerstyle suiting it much better than with a pick. For reference I use the Dunlop Tortex Triangles - 1.14mm. They`re big, and essentially 2 picks in one due to the triangular shape, which makes things a lot better if it slips whilst playing. Like many I`ve never dropped a pick.

That was the first version of the song that I heard. I usually find that I prefer the original versions of most songs but have to admit WASP really nailed it.

Sounds like an iffy control on the amp to me - yes the BF410 is a very efficient cab, but having put a GK1001 into one, I still needed the volume on around 4 or 5 on that amp, which isn`t exactly quiet.

Yep, welcome Loz, from Lozz

Bruce Foxton, from The Jam used one for a long time, so they`re not just rock sounding amps. He got a really nice focused/bite with his, linked to the VBC cabs. Prob why I`ve wanted one for so long, was so impressed with the sound from his Precision/VBA set-up.

I`ve wanted one of these for ages, used to have the VBC412 cab which was amazingly good. But then I played with a band last year who had one, and it took two guys to lift it on top of the stack (cab on top of flightcase). At that point my desire waned.

Sold a Mono Vertigo to Kostas. Great comms throughout, swift payment, advised when it was delivered, all that`s good in a transaction. Cheers Kostas.

It might be that the best addition could be another of the 102P cabs - adding in the exact cab again really fills the sound out. Unless you really only want one cab that is. Other than that then getting an LMIII could be an option, seeing as that`s the amp that drew you to Markbass gear. Given it`s a higher range it`s likely there`s a bit more to the sound. Re the "cheapness" I think I might know what you mean, the Markbass sound is very sterile sounding on its own, but in the mix it really works. Have you stood some 20 feet in front of your rig when the band is playing - that might be an opinion changer too.

Update to my first post, have just remembered that at the end of 2016 our singer/guitarist had a heart op, so wasn`t allowed to carry anything significantly heavier than a bag of shopping for a couple of months, so we covered this for a couple of months for him.

My thoughts are the Leeds pedal - having used Cosmos one it really nails that tone, especially when someone who knows JEs basslines plays through it - Cosmo, not me, I should add.

Agree, this pedal looks very nice, would just like to read up a bit more on it, but am hoping that the eq and Chunk feature can bring in enough hi-mid harmonics for me. This really could be that all in one pedal that I covet so badly.

Well when he was sober enough to remember where the solos were - after the 2nd chorus in every song, so you wouldn`t think it would be that challenging - which wasn`t often, he could really play, probably one of the best soloists on guitar I`ve heard, really individual style.

I think he might have, but he didn`t have leads or anything else, even his guitar turned out to not fit the sound of the band so I provided that as well after a while.

If something happened to one of the guys in our band the other two would cover it. Might be a bit of a pain but the band is more important and I`d doubt it would be deliberate so do what`s necessary. I do remember however in an old band the decision being made to take on a guitarist who had neither guitar amp, guitar speaker cab, or means of transport. Guess who ended up providing all of that, muggins-me. Never again.

All my gear is kept in my spare room, with my gigging basses kept in their cases. I have a home-use bass and a small practice amp for widdling away the hours, also in the spare room.

Annoyingly I kind of missed out on much of the Brit Pop, i was more in serious drinker mode back then. I look back and kick myself that in my late 20s I missed so much exciting guitar led music. Sure I`d watch them on top of The Pops, TFI etc, but never thought of going to the gigs or buying the CDs.

That ecosystem was probably intrinsic to your sound Bob, I think that bass is destined to be skipped..................

Our old producer did the sound for Oasis on their far-east tour, and he said that they really were more like a street gang than a band. He didn`t seem to be of the opinion that they were trying/acting in any way, that was just how they were.

Yep, it sounds like he knows the exact tone he wants to FOH/audience, and doesn`t want that changed by eq changes as a result of boomy stages/cabs that colour the sound etc. Sensible move imo, that way you can twiddle around with whatever to suit on stage without it affecting what the audience get. In the shared cabs world there are so many different scenarios, Markbass = high end roll off, Trace Elliot = hi mid boost, Ashdown ABM = added low end. Adjust your DI`d eq for what the cab is bringing in and the audience doesn`t get what you want them to, the tone/sound that you and your band have worked with together to get the band sounding as good as you can. Unless you go Pre-EQ of course, and doing that then destroys the tone/sound that you and your band have worked with together to get the band sounding as good as you can. Unless the tone/sound you have is your bass completely flat, in that case it would work perfectly.

We do our own mini-tours, and so far gig-fees and merch sales have covered the whole costs. Sure, we don`t come back with much to show for it, but how many people get their hobby to pay for them to visit other countries and see places of interest. I feel extremely lucky to be in that position, on our first tour I visited Colditz Castle, a place I`ve read so much about, and aside from the entry fee of 6 Euros, it was the band/my hobby that paid for me to get there.

Does look pretty special, Don, bet you can`t wait

I used to be able to read bass music quite easily, guitar not so well but enough to get by. It`s how I learned to play, I went to a few lessons, learned what the notes were and where they were on the fret-board, then went away and armed with that knowledge and a couple of song-books taught myself how to play my two - then - fave albums. I`m sure I could have learned by ear but I`m glad I learned the way I did. In song-writing it really helps me to this day. To anyone intending on learning a musical instrument, learn how to read music for it would be one of my top tips.

Markbass cabs have a bit of high-end roll-off, whereas the BF will be more accurate in representing the sound of the bass/amp. We did a cab shootout at the SE Bash a few years back and I remember being incredibly impressed with the sound from the Super Midget. At the time I had a CMD121P & NY121 set-up and loved it, but the depth of sound from the Super Midget put a big grin on my face.

Yep I saw this and thought it was great. I just wish that there was a good live CD of them, preferably from the Knebworth or Maine Road gigs. Whilst I love their hits, the non-hits really pass me by, but a good live performance of all the hits from one gig, rather than snippets from many would be great.

Nah, it`s cos in these label-driven times passers by saw he was playing a Squier, so thought he wasn`t a serious musician.......................