Lozz196

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.......................

Nothing particularly new there, more like concentrating on their strengths which to me seems pretty sensible. And even though I no longer play guitar I just love that 50s Tele.

I like this.

We formed our band in Sep 2013, by Jan 2014 we were recording our first 6 track EP, gigging by Feb 2014 (o1 Feb to be precise). Nothing fancy, just plain & simple fun rehearsing every week. It of course helps that we`re an originals band so our first gigs were 30mins, although given that many of our then songs were less than 2 minutes long we still had a good few songs to both write and rehearse.

Yeah, I also have a Protection Racket rucksack, and whilst it`s a nice rucksack it is a case of pretty much everything in one compartment, so on gigs where I don`t need everything (which I generally find out at the gig, so still have to bring it all) I still had to take everything out in order to put back what wasn`t needed.

Amp-wise nothing really, but cab-wise I prefer my Ashdown ABM speaker cabs to the higher-end ones I`ve had previously. Happened by chance as well, every gig I did where the cabs were Ashdowns I just liked the sound, but hadn`t considered them due to the larger size & weight. Decided to pretend to be a real man & go for them, and am very glad I did. Used my 410 & 210 cost less than £400, a fraction of the cost, and I`ve seen them in not such good condition go for less than £200 for the 410s.

I`ve got a Wenger rucksack for my leads & pedals. I did use a Boschma Utitlty Case for a while, but the Wenger is pretty well padded, and easier to cart about being a rucksack. It has a good few compartments so I can keep amp-leads/guitar leads, pedals & gig-towel/set-lists, spare t-shirt, spare leads & strings etc all seperate so only opening whichever compartment I need at the time. Makes it easier that way as some gigs it`s own amp & leads/pedals, others it`s just leads & pedals as amp is provided. It wasn`t cheap, but it`s been a very good buy.

Awesome

A guy I was at school with got booted straight in the face by one of The Cockney Rejects for spitting at them. They`re certainly not bothered by a bit of a tear-up, those guys, the two brothers in the band being rather good boxers in their youth.

I`m letting an Ashdown RM610 go, really nice cab, plenty of punch to it, and def not muddy. £375 to a new lucky owner.

The only ones I`ve persisted with for a time were TIs, with a good bit of eq-ing I could get near to the sound I want with them, but the tension was just too loose for me, as I`m one of those hard-hitting/heavy-handed players.

I think that`s spot on, and the way we work in Knock Off - not that we`re ever likely to get any payouts worth arguing over, lol.

No 2 is the one of concern, and if you have a sound worked out on your B3 it`s easily avoided. Plug bass to B3, B3 to engineers DI box, engineers DI box to amp, all sorted. That way he/FOH gets your sound, as does whatever amp/cab is on stage. You then get to set that amps volume & eq to suit on-stage sound without messing about with the FOH mix.

Depressingly truthful

Another happy ABM1000 user here. I do prefer my ABM600 as it`s a bit sharper/harder sounding, but there`s not that much in it. I tend to use the 1000 for rehearsals to make life easy, and the 600 for gigs, especially as I use so many shared/provided cabs at gigs. I`d be a bit concerned that the 1000 would damage a lesser powered cab.

When I was in a previous band I was using a Markbass LM3 and a Zoom B3. For gigs where there was a provided rig I`d just plug in the B3 with the Markbass amp-sim selected and hey presto, to FOH went my sound. The B3 is fine for this, plus having on-board tuner and compression it will make your life much easier. That`s pretty much what I do now, only with a Sansamp Para Driver, arrive at gig, plug in bass/pedal/tuner, ready to go.