Lozz196

TI`s are pretty darn good sounding strings, Chris. If I were using flats that`s prob where I`d go, the looser tension is pretty easy to get used to I found.

I`m picking up a used ABM500 this eve, fingers crossed I don`t have any issues as it`s advertised as in full working order. Gonna be my backup amp.

Seymour Duncan Hot Stacks are good, hum-cancelling too which is always good with a Jazz bass.

I`ve never needed a backup bass, but I`ve seen a few bassists who have needed one, and it`s always been an electrical fault rather than broken strings. Sometimes it`s an accident, bass dropped with lead plugged in the socket and broken socket as a result. Other times it`s been plug in bass, nothing, worked yesterday (as in I`ve seen them use said bass the day before) so prob a pot or loose connection.

Yes, I have the RM500 and that is very good indeed, can`t think that the 800 wouldn`t be equally as good.

[quote name='Lozz196' timestamp='1480949471' post='3188294'] Providing there`s room I always take a spare along. In fact I`ve got a bass on the way to fill that position as I don`t like taking two expensive basses out with me, so the incoming is a Squier which will be perfectly good as a backup. [/quote] And now, having changed my mind - and my basses - yet again, I now take two US Precisions with me to gigs/recording etc.

Well as an Ashdown user I of course would recommend that, however if you don`t like the Ashdown sound will you take a hit if you re-sell? Whereas with the Eden already being second hand, selling it on on here you probably wouldn`t make too much, if any, of a loss.

That`s a couple of very good points, trust the sound-man and make sure whatever you do on-stage doesn`t affect the PA.

Teenage Kicks by The Undertones Hurry up Harry by Sham 69 Bad Moon Rising or Fortunate Son by Credence Clearwater Revival (done rock/punk these work v nicely)

Good point there Phil, it certainly helps all if the band are prepared for what they specifically want from each instrument, rather than just giving a vague clue/idea. That`s why I use my preamp pedal, it doesn`t matter what amp or cab I`m using, I don`t have any eq or volume to adjust for the sound-person, they can just mix me in irrespective of what I do with the amp on stage. To assist with this we also give the sound-person a mic-chart detailing line-up, how many vocal mics needed, and what vocals/instruments each of us would like in our individual monitors. Just makes things that little bit easier.

Definition isn`t really the P-Bass forte, warmth and presence is. Sure newer round-wound steel strings will add to the clarity of the notes, but the P-Bass is a lot different to the Jazz bass on this aspect.

Whatever you do, don`t use Parcelforce - they will accept your money for extra insurance but their T&Cs specifically state musical instruments are not covered. Prob same for a good many others as well so always check the Prohibited Items list before choosing a courier.

Yep, I always DI from my pedal rather than the amp, as much of the time I`m not using my amp/cab anyway. That way I know that FOH gets what I want the audience to hear, as different amps/cabs really do colour the sound a lot. Good point there Chris.

Exactly as Bill says, right down to the angry red face.

Yep, the Cobalts sounded very much to me like rounds with about a months worth of wear, still zingy but not that "shiny" sounding clank you get from brand new rounds.

[quote name='Al Krow' timestamp='1497262570' post='3316825'] You're a more patient man than me and seem to have been rewarded for your efforts, which is great! And I'm very impressed you stuck with it despite utterly hating it at first. I finally received my "Para Driver DI v2" well that's what it said on the tin (literally) But someone had swapped a Bass Driver DI in its place. I did give it a relatively quick go (not a whole day as you did) and thought this really wasn't adding much at all to my amp's EQ and the single overdrive was, if anything, [i]less [/i]to my liking than some of the (multiple) overdrive options on my B3n. Given that it was already not the pedal I had ordered it went back in the box for return...not sure that I will be ordering the Para Driver in its place as I suspect the two pedals aren't a million miles apart. I am rapidly coming to the conclusion that subtle tonal variations are great for solo use, but will be completely lost in any live mix as far as band-mates and audiences are concerned. [/quote] That`s a shame Bas, must have been really irritating to finally get the right box but wrong pedal. The BDDI is a good enough pedal, but as la bam has said, adding to upper mids helps on the grit/drive and the BDDI doesn`t have that. Can understand where you`re coming from as it does its thing particularly well, but mids isn`t its thing.

I`ve only used Eden amps as provided rigs on a couple of gigs, so no real answer to that, but..... Your post mentions the love of three seperate Ampeg amps. Seems to me your ears already know what you`re after, trusty old Ampeg warmth.

I set mine with a slight bend/relief in the neck, and about 2.5/3mm at the 12th fret. Most of my work is open strings up to 8th fret so I can dig in nicely and get some fret-buzz when needed.

I had the TH350, if used with gain/drive it`s plenty powerful but if you clean it up then against a loud drummer and Marshall half-stacks it does have to fight a bit.

I think it`s a great post, Blue. Really highlights that in order to find the right band that the audition is not one-way, and also not just about the playing, it`s the chance to find out if what you`re applying for is what will suit.

[quote name='prowla' timestamp='1497543670' post='3319028'] If you buy a used one, he won't get your money. So that invalidates your argument there... [/quote] I agree if a used one is bought then JH gets none of my cash, but moving on said used one isn`t as simple as moving on other makes. Making both parts of my argument valid - I wouldn`t buy a new one to prevent JH getting any of my money, and a used one is more difficult to move on - not many sold on here for example, a forum specifically for bass. I should add I`m not a Ric-hater, both of the ones I`ve played for a fair amount of time I really liked, played great, sounded greater, so I`m not knocking the instruments, just the Stasi way the company police them.

The best small amp/Class D amp I`ve used for bigness of tone has been the Ashdown Rootmaster - and there`s one up for grabs on here at present, the 800 watt version, for about £350 which is a great deal (I`m not the seller btw). I have the 500 and it`s plenty powerful. That said sure, in direct comparison to Class D amps both solid state and valve amps have more presence but I wouldn`t be able to walk into a pub gig and determine an amp from any of those categories by the sound alone. Get the amp that fits your needs, if its a tiny Class D amp that fits in your gig-bag pocket so be it.

D`addario Pro Steels, def the most comfortable steel rounds I`ve played.

I`ve played a couple of Rics, really liked them, however I can provide a 2 word answer to the question: John Hall I wouldn`t give him any of my money, additionally selling a Ric on isn`t made particularly easy due to him and the antics of the Ric Stormtroopers.

Prioritise them in 30min set, 40min set, 1hr set etc, and ask which length set is the most regular making that the one to master first. We`re now on our 3rd album with some 45- 50 songs, but our longest set, an hour is 18 songs, with the shorter being a selection of those. You`ll might even find that many of the songs on their albums have never even been played live.