Lozz196

Think the amp Bridet Kearney is using in Lake Street Dive is the ABM900 - that`s a rather nice but heavy amp.

I think you`ve made a sound decision there, Andy, sometimes things can just not develop the way we want, and walking away isn`t failure, it`s progress - progression to what`s new. All the best with both your new musical venture, and with your soon to be arriving daughter.

From what I`ve read the Superbrights are low tension, as are DR Hi-Beams. From personal experience I found D`Addario Pro Steels to be the most comfortable set of strings I`ve ever played. I went for the 45/65/80/100 gauge.

I think you`re spot on there, Dave. I`ve played with many very talented musicians who simply did not know how to be in a band. Attitude - as in having a pleasant/good one - is one of the main requirements. I`ve played in bands with many really talented guys who simply had no idea how to actually be in a band.

Well at first thought my reply was, I print the set lists. But on digging further I can safely say I contribute in: Song-writing/arrangements Mixing - I have a pretty commercial ear, so tend to lead on mixing our recordings, at least to get where all is needed are minor tweaks Stability & punctuality Organising travel - I tend to go with road knowledge and experience, rather than "the sat-nav says" Making sure no matter how rotten/tired I feel, the performance never shows either of these - the punters don`t want to see that So I suppose much of the above is knowing how to be in a band, as much as for my musicianship But at the end of the day, those set lists are darn good-uns................

It would really depend on the type of music for me. If I were in a band where the bass was a supporting instrument, blending in with the drums and providing a good platform on which the other instruments shine then the Markbass, but if I wanted the bass to have its own "identity" then the GK. This isn`t to say the Markbass is bland, far from it, for classic Precision/Motown sounds Markbass are excellent, but I just find that the GK sound is better if wanting the bass in the forefront rather than the background. That said, as you`ve got the B7K you`ve the added eq/drive options for creating an identity, or coming more forward in the mix so in that case having the Markbass amp is covering all - pardon the pun - bases. Solid/background on its own, driven etc with B7K.

As it`s made of loads of seperate parts, Frankenstein

Never Mind The Bollocks - The Sex Pistols Appetite for Destruction - Guns N Roses Chapter iV - Booze & Glory The first two have stood the test of time for me, the last one was only released this year but it`s just got so many songs that I love on it I can`t see it not staying where it is - until B&G replace it with a newer one that I like even better that is.

Pump it Up, by Elvis Costello & The Attractions. Note-wise is easy enough, but the feel is not my usual style, so reigning myself in was the challenge.

That`s pretty much my introduction to playing live, though different wattages on each amp - 150 watt solid state amp v Marshall 100 watt 2x12 combo. It`s a cert that that`s what`s shaped my playing, as I now have more than enough power with my amps, but still set them so that I have to hit hard to get the volume. Well, I play punk, it`s what`s expected

The A is the one I use most, but for obvious reasons the E would be the most awkward seeing as anything lower than an A would be, well just not possible. When recording our 2nd album I noticed that many of the songs were played on the A string only. But this topic is why I take a backup bass to all gigs. Don`t want the mind-altering hassle of havin to transpose fret positions etc, too difficult.

Ah, each to their own, and all down to preference/opinion rather than right or wrong. I`m probably a bit (well more than a bit) anal about sounds. I remember being really disappointed when I saw The Fratellis play Chelsea Dagger on tv and the bass was nothing like the recorded version, I`d been sooooo looking forward to hearing that cracking bass sound and it just didn`t come through. I wasn`t upset for days mind, but the fact that I can still remember my disappointment shos it figured highly - no idea which tv show it was, or when.

It wouldn`t ruin the songs imo Pete, it would just make them sound unlike the recordings, and we`ve always prided ourselves on delivering live versions of our songs that sound like the recorded material. I don`t understand why any band would want any different, unless intentional, by way of performing either a stripped back version, or a version with added orchestral accompaniment. Otherwise why not deliver the same sound as what you`ve recorded, and what your fans have bought, and what when they come to see you play they hope to hear?

Try Castle Cases, they might be able to knock something up.

Drop them a message direct, they`re on here, Ashdown Engineering. Always pretty good with help & advice.

Well that`s what I`ve been doing, probably not explained myself too well. It`s post some EQ-ing, as per the EQ on my Para Driver, but not Post on the amp. On the amp itself, if they really want to DI from that rather than the Para Driver I always go Pre, so they`re still only getting the bass/pedal, without anything from the amp. Most engineers seem to really apprciate the simplicity of DI-ing from the Para Driver, probably the same with the regular Sansamps.

Thanks, I`ll probably just about learn it all when it`s time for another change

As above - haven`t worked out how to multiquote on the new version of Basschat yet. Yes, rooms can have a big effect on bass, but it depends majorly on what bass sound is being used. If a lot of warm low-end I get it, I really do, you can end up with a wall of sludge that wamps over everything. But if your bass sound is completely the opposite, requiring a lot of hi-mids and highs, plus break-up/drive, well at that point it`s now a different ball game. I`ve heard many bands have a pre-EQ bass to FOH. It`s resulted in no definition, the bass has ruined the whole perfomance. Whereas a band with carefully thought out complimentary sounds put through FOH as they are, well these bands - to my ears - have won the day. And usually their performance has sounded like their recordings, which I would hope was their aim. We do many gigs with line-checks only, and the amount of sound-guys who have come up after the gig and raved about the sound of the bass, and how my set-up made their job so much easier, well some might be lying, but if I thought it were all of them then I`d sense a conspiracy going on. One to equal the moon-landings I`d venture.

Have a listen to my band on Youtube - Knock Off, best track to hear the bass is Fingers to The Bone - and then you`ll see/hear why a flat un-EQ`d P-bass out front would ruin what we sound like live. No point in recording with a sound and then doing my damndest to not have that sound live. I use whatever amp/cab is there for on-stage monitoring, my Tech21 Para Driver goes straight to FOH. Given my sound it`s very unlikely it will be too boomy.

Same for me.

I can`t say I dislike rap as whole genre, as I haven`t heard it all, all I can say is that I pretty much dislike every bit of rap I`ve heard so far. Apart from the RUN DMC/Aerosmith version of Walk This Way that is, love that version.

Not really that fussed on the looks/size of these, but they - from the online stuff I`ve heard - sound great.