Linus27

That's my old one. I traded it in for a Warwick Gnome Pro I so I can confirm it's in excellent condition, fully works, never gigged and used just at home as a practise amp. They also have the matching cab that I also traded in at the same time. I used them both together. https://www.andertons.co.uk/bass-dept/bass-amps/bass-amp-cabs/other-bass-cabs/sh-ashdown-mibass-10-bass-cab-250w-8ohm

I've played rounds on my basses for about 30 years. I hated flats, they sounded dull, lifeless and I hated the tension. Then about 5 years ago, OBBM suggested I tried a set of Rotosound Jazz Bass flats on my Precision and oh boy, 100% converted. Tension very similar to my Elite Stadium Rounds and what a gorgeous tone. They sound even better in a full band mix. Full, punchy and lots of definition. I now use them on my fretless Precision and I love them. I did try them on a Jazz but I wasn't as impressed and as mentioned by Chris, I missed the full dynamic range. Will be trying g them on my fretless Sti gray soon. In terms of low tension and flats that feel very similar to rounds, what other makes are there?

I'm not a fan of politics in music especially when its preaching the singers personal view point. I'm ok with it telling a story in the lyrics. The same way I totally abide any political opinion or view point being preached at a sporting event, for example Black Lives Matter, LBGT, In This As One, Taking the Knee crap that they do at the start of every F1 race. I have nothing against those movements but I am there to watch a motor race, not witness a political statement, movement or agenda. I think its wrong and does more harm than good eventually. Same as I wouldn't want that sort of thing being done at a music concert, theatre, cinema, airshow or any other major event be it sporting or not.

They are all mates from School and they equally contribute to songwriting and coming up with ideas. The Edge and Bono are the main songwriters but Adam and Larry contribute as well. It just works for them to do a four way split. In my old band, the singer and I were the main songwriters, the other two didn't really bring much but as were were mates and a band, we split writing credits and royalties four ways. No arguments and makes it fair for all.

They did similar on the Joshua Tree tour in the States as well. Adam uses a MOOG Taurus pedal set up that plays really low bass notes to create this. This is still phenomenal to watch 😁

There also loads of live videos of U2 rehearsing pre tour, set up just as a basic 4 piece and Adam is using an Ashdown rig among other various rigs and basses. Example of him using an Ashdown rig and Buzzard bass here.

Adam Clayton was also one of the reasons I picked up the bass. I was only 14 and been outside BMXing. It was a mega hot day so I came in to cool down and purely by mistake saw U2's performance on Live Aid. I didn't know the band, the songs or have any desire to play music (I had a huge crush on Madonna at the time) but I saw Adam strutting around stage and I thought, that guys looks so cool, playing guitar (didn't know it was a bass), strutting around stage looking awesome, I want to be that guy. A few years passed and I was hanging out with mates and I then heard the Joshua Tree blasting out of a friends car and it blew me away. At that point I decided to learn to play bass. Move forward about 10 years and I'd learnt to play bass, learnt every U2 song, been in a few good bands and managed to get a record deal with my current band. We were going to head to Seattle to be have our first album produced by Rick Parasher of Pearl Jam's 'Ten' fame but the guy who ended up producing it was a guy called Mark Wallis who did the It Bites and Travis album's. He's also produced The Smiths, Talking Heads, REM, Wet Wet Wet, Iggy Pop, Japan, The Primitives, Debbie Harry, Joan Armatrading, The LA’s and The Go-Betweens to name a few but it turned out he also mixed and engineered on U2's Joshua Tree. We had many a long chat about U2 and the things he told me about Adam is that he may not perhaps come up with the most spectacular bass lines but he is one of the most solid, tightest bassists he has ever worked with. He may play a lot of 8 and 16 note bass lines but every single note is consistent and in time. He said not many bass players can play that tight repeatedly and they tend to wander, even if its 1 or 2 or 3 notes in an 8 note sequence but Adam never does, he is so tight. I thought I was good at this until he pointed out I wavered during the recording process. It was quite an eye opener to be honest. He said that Adam just has a fantastic natural internal click and ability to play in time, not something he see's in many other musicians despite other bassists being far more technical.

No you are right about the Octave pedal but since I started this thread, I've managed to get the Octaver to work brilliantly and understand how to make it effective in the right way with what I am playing. Its now a major part of my sound where as the Chorus which I thought would be the main pedal I use on the fretless has taken a back seat. Thank you for the heads up on the MXR Bass Octave pedal, I will certainly check it out as well as the Cali76 Compressor.

The Cali 76 Compact Bass compressor is probably top of my list right now. I'm really new to using pedals so I gave the Behringer Octaver a go for the exact reason you mention about giving cheap pedals a go to see if it works. Its actually really good and has now become a regular part of my sound for a lot of songs. So when they become available again, I'm going to get the Boss OC-5. If for any reason I cant get one then I'll probably give the EBS one a go as this gets great reviews as well.

Bought a couple of cheap Behringer pedals, their chorus and Octave pedals. Both have been brilliant, especially the Octave pedal which I use all the time.

Best has been my Warwick Gnome Pro I which was originally bought as a backup amp but is so good that I'm using it all the time through my Barefaced Two10. Well, only used it for two gigs but it's been amazing so far.

Wow, they are gorgeous, mega jealous. I would love to buy another 400 Series Jazz to go with the one I have.

Just horrific, fingers crossed she pulls through.

Can it play in tune for me as well 😄

Awesome, sounds like the pedal I need and not that expensive either

Thanks again everyone, some really helpful advice. A compressor and Reverb is certainly on the list of pedals to buy anyway. I'm liking the look of the Boss LMB3 but as Nail Soup has said, it might be something as simple as a boost pedal.

I am playing it on a jazz and do consciously move my hand further back towards the bridge pickup when I play them for the reason you mention.

I wondered if a Reverb would help as it would allow the note to carry further for longer and with the Chorus as well would widen the sound.

Thanks everyone, a compression pedal is very high on the list, possibly the next pedal I purchase.

On some of the bass lines I play, there are sections where I am playing a run or melody using harmonics. Its just single harmonic notes as the chord changes but its a nice effect to use in those parts of the song. When I first did it, the rest of the band went WOW and a few people at gigs have said that bit when you were doing that thing, it sounds really good. I am currently using a chorus pedal and playing it on a fretless. However, I'd like to try and make it even bigger, more prominent and if possible, orchestral sounding and wondering if there are any effects I could try that would create this sort of thing? I'm a effect virgin really apart from chorus and octave so open to any suggestions.

I have huge gas for one of these beautiful basses, a fretless Shuker Artist Series. Does anyone have one? Jon has made me a couple of fretless necks in the past so I know the amazing quality and high standard he produces but I adore the look of this bass.

I just want to add that I bought a Warwick Gnome I Pro last week and I absolutely love it. Not sure exactly on the output as some places say its 280w and others say 300w but its bloody loud. I bought it as a backup to my Ampeg PF500 and Ashdown Mi550 but ended up using it at last Friday's gig through my Barefaced Two10 and not only did I have to turn it down, the volume was set at half of what the Ampeg runs at. Ok so that's not scientific but gain was at 12 o Clock and I started with the volume at 11 o Clock but eventually turned it down to 9 o Clock. The Ampeg usually runs at 12 o Clock for gain and volume so it's a very powerful little thing. The tone is also really punchy, I love it and will continue to use it as my main amp if possible. As for the Gnome cabs, the plan is to get one when they become available. Not sure on the 2/8/4 as a practise rig or go for the 2/10/4 to try as a main rig.

Mine would be easy, an unlined fretless Fender Jazz, based on the specs of a 1966 Fender Jazz, made in Japan, Ebony board, gloss neck, nitro finish, Bartonlini pickups and available in two colour's black and Sherwood Green.