Lozz196

Given how faithfully BF cabs reproduce the sound it was probably a loose bolt on the stage that was being rattled by the amount of lows being shaken about by that BF cab.

Yep, when I was in bands that didn`t require DI-ing my Markbass rigs were great, excellent sound in the mix, really happy with them. It was later on when DI-ing that I realised this high-end roll-off.

I know when I was most recently - 2011 - temporarily bandless it seemed very alien and not a very comforable place to be. These things happen, Band A you did the right thing, Band B, well sometimes these things happen. I wouldn`t take it as any kind of meaning that you should stop being in bands, to me it`s only the closeness of the two events that could do that. If each outcome had happened 2 years apart you`d probably have a different take on it all. And late 50s is no age to stop, whilst not being quite there - early 50s for me - I`m having more fun now in music than I ever did at a younger age, and that`s in an originals band.

I`ve found that all of the 210/115 set-ups I`ve had have sounded great, but the great sound I got was a sum of both cabs, with neither able to replicate said sound on its own. For that reason I now stick to a 410 with dragging out a 210 from the same make/range for bigger gigs. Doesn`t make - from experience so far - any significant change to the sound, just more of it and at an easier to hear height.

It`s the Markbass cabs that are the culprits. I`ve found they have a high-end roll off that means whatever sound you get working well with them, when DI`d the sound is much harsher and treblier than you`d want. Many cabs are voiced a certain way - my Ashdown ABMs add in a lot of low-end, something I found out when I switched to them from Barefaced which really were as close to flat as I can describe.

Yeah, listen to vids of them playing live and he`s def playing. Ok, not the best bassist in the world but as has been said, he was doing the same as what ended up on the album. It`s a shame, both for him and the band that he joined. I`d venture he wouldn`t have died when he did if he`d still been a fan of them, and they possibly wouldn`t have split quite so soon - though I do think that Glen Matlock would have gone when he did, irrespective of whoever took his place.

We did a maple/rosewood shootout and whilst not getting people to guess which was which, the overwhelming fave on each category - Precision/Jazz/Ray etc - after playing one maple, one rosewood of the same bass was rosewood. We tried to keep as near as possible, but obviously strings/year of manufacture can all get in the way of pure objectivity but, even then, rosewood triumphed across the board (pardon the pun).

Not so much emphasis on the mids. Not scooped by any means but not as chunk-city as a normal p bass. I`d probably say if in terms of Jazz-scoop being at 1 and normal Precision-chunk being 10 then these 51s are at 7.

That big pulsing intro to Public Image, simple but so effective, and in a time when many a punk band had very twangy trebly bass sounds, his was the opposite. Still one of my fave singles of all time, that song.

My thoughts on this are split somewhat, into two areas: 1 - get the one that plays the best 2 - get the one that you like the sound of most Re no 2, for years I chased a specific sound, could never get it from any of the basses I had, got near sure, but there was always something lacking and in all honesty I thought it could be me. Then I bought a Precision and it finally clicked. All my fave bassists played them, I was trying to get similar, but for some reason had never bought one. If all your fave bassists play a certain bass, and they`re your inspiration, having a bass that will generate the same tones should push you on. Sure you need the same amps/cabs/effects to sound exactly like them, but if all your fave players play Stingrays then the Thunderbird isn`t really going to aid you in sounding like them, which could be a hindrance.

Havin read on this thread that the Rumble feature on the Tech 21 Para Driver v2 is a high pass filter I thought I`d give it a try this eve, and am pretty pleased with the result, albeit through my practice amp at home volumes. Engaged I have to push the bass on the PD a lot more, in fact to full on, plus back off on both the highs and mids a bit, add a bit more gain, and reduce the blend to 80% instead of full on in order to get the same sound as before. So why do it then - well the sound is the same but seems more focused, and, being a heavy hitter the sound could boom a bit at times whereas now it doesn`t so I`m getting a more controlled version of my sound. I suppose it`s a bit like finally finding the compressor that actually does what I want it to really, keeping me as me, but also reigning me in a bit. I`ll update as to whether it works in the band or not next week, but am feeling pretty chuffed at the moment.

They`re great basses, I`ve had a few though and although I love the looks, sounds and payability for some reason I always offload, said reason still not established. Probably as I`m unlikely to use them in a band setting nowadays, though have before.

That sums up Jazz basses for me too - I love the sound that others can get from them, whereas for reasons of decency I shouldn`t be allowed anywhere near one.

I`ve found that basses played through Markbass gear without the rest of the band sounds a bit bland, however it`s when the rest of the band is going that they come into force, fitting really well in the mix. That said, Markbass cabs do have a high-end roll-off so it maybe that that`s what you`re finding missing, the high end definition that Jazz basses are known for? I found this out when using the same amp eq settings through a Trace Elliot cab and the suddenly there ice-pick highs that emerged. For what it`s worth I`ve found that the Markbass/Barefaced sounds great, heard a good few Basschatters with these rigs and the true(truer?) Markbass sound comes out.

I`ve only ever had great sounding results when pairing 210s & 115s from the same maker, but..... Trying to get the same sound from either cab if wanting an easy rehearsal, or playing a small gig has always proved virtually impossible, as each cab has had its own voice. Plus in reality I`m too lazy/old/weak to carry two heavy cabs around, so stick with one 410 that`s easy enough between two people.

Playing The Rebellion Festival in The Winter Gardens in Blackpool for the first time in August 2015. When we started out our aim was to try and get on that festival, being the biggest punk festival in the world. Our set was at something like 1:15pm on the first day for 25mins in The Arena, and the room whilst not completely full must have had about 800 in there (capacity is 1000). The set flew by, was well received, and we were all on a high for the rest of the festival, we`d achieved one of of our aims and unlike many things in life, it was actually better than we had thought it would be. We`ve now played there 3 years in a row, and are booked for this year as well but I look back fondly to my first Rebellion.

Yeah I saw this one and thought "good luck". A bit of a rarity, great amps, but do think this is a tad optimistic. Especially when there`s a DBS 7400 on there for £350 on its own.

When I was in my old punk covers band we went from gigging at least every other week to one gig every 2 months due to one of the members of the bands other commitments. Drove us mad, especially as he also fitted into all 3 of the categories listed by the above as undesirable. Practising and gigging weekly was the only way of keeping him focused and on the ball. Whilst it might be ok for some, not for me.

I`ve asked myself this a few times, and put it into sections: Can I play/record the same song unaccompanied by any other instruments/vocals say 2 or 3 times, and be within a couple of seconds each time Has my bass playing ever been described as tight or solid Have any drummers ever expressed that they found it difficult to work with my bass-playing Have I ever held up the progress of any band that I`ve been in due to not being able to learn/play any songs/material If the answers to 1 & 2 are yes, and no to 3 & 4 then whilst I might not be Mr Flash it seems that I must be doing things right.

Oh I wouldn`t be looking to change my sound at all, but if this little dude can reproduce it then it has to be a goer. It`s that little that it wouldn`t be any trouble to still carry my current gear about to gigs as well, but on flights etc so much easier to just take this.

Just form a slight listen that last clip shows the mids/high end that I`m after. I`ll have a proper listen later on, but this really seems like it will be the all-in-one pedal that I`ve been waiting for. Drat, more expense

The 210AV cabs sound great, Dave, but due to size they`re a bit limited on how much you can put into them, do sound great though, really Ampeggy, as you`d expect really. The BF Two10, however will pretty much take it all and do an Oliver Twist, and ask for more.

Well it usually works out around the same numbers, just with a £ sign in front. Not bad, considering the VT DI is around £200+ if they do come in at around £500. I`d like one to take to gigs as a small backup option in case the gear there isn`t that good, but it`s a fair chunk to spend on the off-chance of having to use it.

Pretty much anything not a Fender, really . Joking aside I like Precisions, Jazzes, Rickenbackers and Gibson Thunderbird & Les Paul basses, other than that there aren`t many other shapes that I like. I`m a traditionalist I suppose, looking at that list. Colour wise, not that keen on red basses, and have never gelled with white scratch plates on Fenders, just too country looking for me, yee ha.