la bam

That's an electron green finish. Itll cure p bass gas in an instant

and this colourful beast might put you off.

I have a set of dimarzio model p in my john deacon bass. Great pickup. However I also have a standard player precision and (after not having one for a bit) am now remembering how to use these properly. If you experiment with the volume you get different tones (with the tone on the same setting) - not just quieter/louder versions of the same thing. Opening up fully adds real edge and dare I say more wider or polyphonic sound. Winding the volume back gives some nice mellowed tones.

Yeh, pirates rooms have some clowns messing everything up. We used to use the pre production room and literally nothing was ever right. Nothing was connected to what it was supposed to be, nothing worked apart from the odd pa top, and worse it gave some of us bad hearing issues. We now use the smaller room and it's better. Weirdly our drummer has to set up their drum kit every time (pro drummer) takes him about an hour to get everything right with the kit that's left in the room in a right state. Then magically 7 days later someone has come in and put it back to next to useless again!

Fender have released a 50w Adam clayton combo. Tube pre and tube power.

In a way ...... this one is £2000 !

Just popped up on my fb feed. 50w valve pre and valve power. Combo. Decent adjustable frequency eq. Looks good. A bit pricey though.....

Youd be amazed at how linked the legs are to back issues. Any stretching I do really helps.

I had/have 2 prolapse discs and a damaged joint. By far and away the best exercises I found for relief and prevention are not back exercises at all.... if it helps this is what I did. Try slowly touching your toes when you can - stretch those calves. Try lifting your knee upto your chest when lying on your back. Grab it with your arms. Once you can do that lie flat and lift both legs in the air straight, so it works your core. Regularly tense your stomach so your body uses its core strength, not your back strength. Just what worked for me, but feel free to try if you wish.

In a live mix I just use the pedal, cab sim on, bass about 11 o'clock, mids about 2 o'clock, freq around 10 o'clock, and treble about 11 o'clock. Using a precision it sounds nice and grindy, fits the mix lovely through the pa.

Just remember the I instructions above about turning it on when holding down the buttons, you need BOTH lights to be flashing to edit.

I'd also highly recommend the bass centre john entwistle bass. Really was a superb bass that. I dont know how or why but it was better built, felt better and sounded better than other bass centre basses I've had.

I'm now on the mld amp and svt 8x10. Gigged with it, sounded great. Big and heavy sound like an svt, complete contrast to the starfire and trace - which shows its versatility.

Take the financial loss and buy the one you want, then sell the one you dont. Take the financial hit, you'll not notice it as you'll be so happy with the new one.

I'm not sure, doesnt he play the fender version, rather than the squire?

Got to admit theres some strange choices when it comes to signature basses. Youd think theyd have to be completely unique to warrant one - like the Bootsy star bass. Plus, I dont see it being a signature bass if the artist then doesnt play them, seems a bit of a swizz. But, for balance I had the fender flea jazz which was odd as it was a replica of a jazz flea owned, not really played, but it's the best bass I've ever owned. Then I suppose theres marcus miller putting his name and effort into Sire. I'd love to see a high end name, like a real big name, get a signature from a real cheap brand so their fans could own one, and then play it live in front of them, thatd be cool.

I just used to set the abm iv comp at around 9 o'clock and it worked really well.

I had the fusion s 800. It was a very light, very good sounding amp. It really cut through any mix. The controls were a bit daft and not that easy to suss out, but they're good amps. They just kinda work no matter what you do.

There will no doubt be a pedal to emulate feedback somewhere nowadays.

That was a big difference - I'd tried in ears before but with amps on stage, so I'd put the items right in and not only had a terrible mush monitor mix, but I felt isolated from everyone in the room. This time the stage was that clear sounding, I used the iems not quite fully in, so I had a good feel of the room too.

Yep, if a drummer even went digital drums, you could play anywhere really. No acoustic noise.

We were quite lucky that we have a keyboardist and they seem more receptive than guitarists in going in ears. Then the guitarist bought a helix, then the other one did, so it seemed a natural progression. We started plugging into the practice rooms pa rather than using the supplied amps and decided to give the whole thing a try. No resistance, a bit of hesitancy, but we'll be fully on it at every gig soon. Drum wise all we did is supply the drummer with a small wedge monitor from the thru on the pa so he had a full house mix and he was very happy.

So, after 30 years of gigging with an amp behind me and blaring guitars and monitors everywhere etc last night I did my first ampless gig. None of us used amps (x2 guitars, x1 keys and me on bass) so the only noise apart from the pa was the drums. We used in ears with our own mix. It really was great. No need to worry about a bad mix or not hearing anything. However, the main revelation which should have been totally obvious but wasnt, was that for years it's been the amps on stage that have been the problem on stage regarding hearing everyone, rather than being a necessity to hear everyone. Everyone could hear the pa perfectly clear and could have easily got away without the in ears. The in ears were perfect and I kind of had the 2/3ds in rather than fully as a reinforcement. For years I've played with guitars at a million decibels and not been able to hear them at times, hardly ever heard keys and had bad monitor mixes. But I'm now convinced it's the amps that were the problem. Just sound smashing around everywhere. I'm from the totally hardcore you need a big old amp behind you and need to feel the bass and the wall of sound, but now weve took some time and done the ampless thing as a whole band I'd reluctantly have to change my mind. The front of house mix was so much easier to do as well. Literally just have to worry about what's coming out of the front. No clash or bleed with amps, direction, or monitors etc. Oh, and pack down took 15 mins and was so easy and lightweight with no compromise on sound.