Steve Browning

Yes, their Rig Rundown is brilliant.

I believe Tom Robinson is actually married - to a woman (hard to say that without thinking of Shakespeare In Love). He invited people tp write to him on the cover of Power In The Darkness and we communicated for a short time. Very nice chap and a mate of mine used to go to songwriting workshops that he ran and was very complimentary about him. Mind you, he is a bass player after all.

Thank you. Much appreciated.

You should like Rick Wakeman for this alone ......

Blimey. A string angle at the nut!!

A little bit of video featuring tracks from the band's debut CD. Hope you like it. Bass was my 66 Precision and A/E Precision DI'd and mixed with a mic'd Ampeg Portaflex. Both strung with flats. The bass went through an old valve Decca desk and went to digital at the very last stage of the mix.

You didn't maintain the fingerboard? Schoolboy error, you've invalidated the warranty on the strings.

I am not going to denigrate either of the experts on this but those old Boogie cabs, whether this one or the 2x15 diesel are positively awesome for bass. They may not be modern and light but they are briiliant.

Yup, that would do it nicely. Really well built little bits of kit.

The cellist didn't have the dots?

I use a Lehle 3at1 SGos switcher. The beauty of it is can handle up to 3 instruments with different outputs. I use mine to switch between a passive and active basses. Not the cheapest solution but silent and built to last.

The two 1x15s? You won't be disappointed.

Great poster. How about putting them in chronological order (sorry, I'm a Virgo). That would also show the development as well.

They're well named, for sure.

None taken!

Honest? That font screams amateur to me and I wouldn't bother going any further. Sorry, that's a little harsh.

But, having heard a D-800 through my two Subway 15s you would be buying a truly awesome rig.

A good mate of mine plays through a D800 and Berg 2x12 and gets a brilliant sound. He plays rock, soul, that kind of stuff.

Yes. The first thing I did, with my 400, was to get the DI converted to pre.

In my case (1953 Precision, 1966 slab Precision and 1966 dot Jazz), because I needed the money. There's a case for buying with an eye on what you might get if you need to part with it - however reluctantly. I have a mate who refers to his guitars as his pension. I paid £950 in 1986 for the '53. How much would that be now? I didn't buy it as an investment but I was aware of its value if I ever did have to sell it. Similarly, I always tell people to buy their gear second-hand because you can always get your money back if you don't get on with it or you want to trade up.

Certainly, of the 'newer' stuff. I would still use my Bass 400 if it were lighter but there's very little in it and the weight of the Bass 400 is what tips the scales. The same with the Subway cabs. I got of my Diesel 2x15 because I just didn't need it any more. The two Subway 15s do the same job and just as well.

I think it's more about playability. There was a time (before relicing) when only the natural wear of a few years playing would create a smooth neck and the nitro finishes had the resonance. It seems to me that the line is more blurred now because modern instruments can be bought with the attributes that were, once, only available on an old bass. Sure, there's some element of snobbery (in some cases) but the bass I enjoy playing most is my 66 Precision. The reason is that the neck is worn smooth and it is so resonant. I prefer the genuine tort guard that isn't available now (or at least until recently). If that could be reproduced exactly on a brand new bass I'd be happy to own it, regardless of the name on the headstock.