Lozz196

Yeah no worries - assume they just need to be 2 inches longer than for my Precision?

Just checked those vid-clips out, very VT like, sounded great with the Precision

And what was really interesting on that one Chris was those cheap Maplin PA cabs that were brought along. About a tenth (maybe twentieth) of the price of some of the cabs there, yet sounded very nice in comparison to their wealthier cousins.

Yeah good call, or choose flats that are known more for their mids than lows, such as TIs. Maybe Ernie Ball Cobalt Flats, as they`re quite near in sound to roundwounds.

I`ve just swapped string allegiance to Warwick Red Label steel rounds. Found a place in Germany doing them at about £7.90 a set, plus delivery, so buy 6 packs at a time, comes to under £55. Which is nice.

I`m very practical, so the only love I have for any of my gear is down to how it sounds or plays. Yes I buy my basses in certain colours, but it`s not that I specifically love those ones, more that there are some colour schemes that I really don`t like.

Just the one, apart from once. First off was a Markbass 212, gigged that on its own. Progressed to Barefaced Super 12Ts - I had two, but only ever dragged both out for one gig, and in honesty didn`t need the pair, it was more for "show", all other gigs done with just one. I then had a Barefaced Big Twin 2. Again gigged on its own. In all cases a single 212 was plenty for my needs.

Yep, I have done, and my gigging backup is a Squier Precision so if anything happens to my main bass at a gig I`ll have to. I`ve seen a few pros using cheap Squiers - maybe they prefer them, or maybe it`s down to the huge amounts of beer that get slung in their general direction so they don`t want to ruin their more expensive basses. Who knows, but whatever, they sound fine. My backup is an Affinity, I bought it from Grangur on here and it plays fantastic, in fact I had to raise the action a good bit to suit my ham-fisted way of playing, it was set up so nice, not a fret-buzz or rattle at all, if played "properly".

Yep, both can effect the tone mahoosively, so I keep the settings on the Para Driver the same so I know FOH gets what I want going there - I then tinker on the amps eq itself to get what I want on-stage. Great if I can get it, if not, well at least the audience hear the band as it`s meant to sound.

I gigged with 212s for a while, never found any of them not up to the job.

It`s more to do with not being familiar with the amps, not knowing if there is an FX loop, stuff like that. if I know it`s inline, only the same cables/set-up no matter where I am. Much easier than trying to see what connections are where on the back of an amp on a poorly lit stage, with middle aged eyesight .

Same here

Well I take antihistamines for sleeping anyway, as I have a bad back but can`t take pain-killers on a regular basis due to substance issues, so all I do is take two instead of one and that works well enough. I`m usually really hyper after a gig, but a lot of that is the nature of our music anyway, full-on from start to finish.

Good amps these, the rehearsal studio I go to has one, was chatting to the owner and she said she`s had it for 20+ years, never had it serviced, never had anything go wrong with it. Japhet was pretty much spot on about these amps & cockroaches surviving Armageddon (tho suspect Keef might just scrape through as well).

My only stipulations to people using my gear are don`t blow it up and don`t put any drinks on it. When using other peoples gear I follow those same rules. I always thank the other bassist for letting me use their rig/cab/amp etc. On the originals circuit it`s so much easier if gear-share is accomodated and arranged, some turn up and seem to expect it, though in all honesty you get to know who they are. Likewise you get some who don`t say thanks afterwards, but never judge on the one occaison as they may be caught up in other stuff - I`ve had this happen, yet the next time the same band/bassist have turned up they couldn`t have been friendlier or more thankful, you never knwo what`s going on on the day in question.

That`s it Bas, we do it for the sheer fun of it, recording/selling the material, and having people sing along with the words at our gigs all being part of that fun, hence why i say hobbyist even though the band does earn from it. Due to none of us taking any money from it I couldn`t say pro/semi-pro as it would be a very poorly paid profession Same here, sure we`re not a "big" band, but it`s far bigger and more sucessful than anything else I`ve ever done, and we only decided to do it for fun, see where we could go with it.

I don`t get nervous, but I put that more down to being properly rehearsed and prepared than anything to do with my personality. It`s the same with presentations at work, things like that, no need for nerves if you`re ready.

Hobbyist/Weekend Warrior for me. I do this purely for fun, and we - in general - only gig at weekends. All the money generated from the band goes back into the band, so no income at all. And similar to @Mykesbass am in my 50s, original material, with overseas tours/festivals/albums out etc having the best time of my life so far as a musician.

Yeah, if looking to reduce in rig size I`d probably look at the Barefaced Super Midget and a suitable Class D head. When we did the cab shootout a few years back at the SE Bash I was really impressed with the quality and amount of sound form the Super Midget.

Great response from Ashdown, and what it says to me in a nutshell is that he simply prefers the sound of their gear to other brands. Which is the way it should be imo.

Yeah, Nate Mendel has used Ashdown for years. I suppose it`s always worth checking out new gear - hey, it`s not like us on here don`t - but appears that there`s something that Ashdown provides which Barefaced doesn`t. Having had cabs from both companies, and currently using Ashdown, I`d be interested to find out what made NM stick with Ashdown.

Def worth a look, I used the Dyna Comp model on the B3 and it was pretty good. Plus you get a tuner (and many other effects) so you can keep to the same amount of pedals, assuming a pedal tuner is used of course.

That`s pretty much it for me, in fact I`ve decided to keep both my MIMs and use those as my gigging basses, keeping just the one US Standard for home use and recording.

We go in two vehicles, me or the singer/guitarist drive with our respective gear, and the drummer takes his van with the drums and merch, plus his wife, who deals with selling said merch.