Steve Browning

Agree entirely about Queen II. Probably the single most important album of all time in the context of my sound and my approach to bass.

That Acoustic and Hiwatt rig must have been amazing. I would die happy to play through that just once.

... and when you are 80 and can't wipe your own bum she'll remind you of that decision. 😄

Have to agree. I had one and used an Acoustic 220 (my immediately pre-Boogie rig). Low notes were great but the sound just disappeared further up the fingerboard.

It would be seriously helpful if you could jot down the salient points. What paperwork did you need/what checks were carried out/how long did it all take/what sort of cost. I expect many of us would be very grateful.

Clapton seems to respond to playing a Gibson far better (in my opinion, of course). As for the rest, well we all differ.

Mate. this is a thread asking for opinions. How about you respect mine, even though it differs to your own? There are times I wonder just how old you actually are.

A few: Eric Clapton should have never picked up a Strat. I Will Always Love You (Whitney Houston) is possibly the best female vocal ever recorded. Music college is pointless - if it's not intuitive, you can't do it. 100% agree re Jaco etc. Like most 'virtuosi' I can admire the technique, but the output is just horrible.

Have a look at this, maybe. https://www.bandname.com/why_register

It couldn't be more appreciated here, I can assure you.

If you are uncomfortable, for any reason at all, you should say no. Don't be swayed by anything we say here. If you're gut is 'no' then that's a perfectly reasonable answer.

My signature bass would be a sunburst Precision, 70's B profile neck. Tort guard and Lindy Fralin 5% overwound pickup, Gotoh 203 bridge. Also available in Mocha with a black scratchplate.

I certainly want to hear my usual sound on any stage. Sometimes that means moving to a particular area on a larger stage, somewhere where the amp sound is prevalent. It does depend on the size of the stage. A pa supported gig can still be influenced by the onstage volume so there's a balance to be struck but a pre-eq feed to the foh means you can tailor your onstage sound to be whatever you want it to be.

Gotoh Resolites for me.

24 hours late but I saw Robert Cray at Oxford New Theatre last night. Great gig. The guy has a very fine voice and his guitar playing is just sublime. Great band, too.

I don't think that can be right. If that is so, then it's possible for a 175 to sound exactly like a Les Paul. If we are saying the material has no effect then how does construction? The pickup has no idea it's attached to a large hollow body, any more than it knows it's attached to a solid lump of wood (or mahogany/maple sandwich).

It sure is.

Waterlooville, which is near Portsmouth, on the South coast.

That's not a huge distance. If you want, we could find a rehearsal place roughly half way between us.

Acoustically, certainly, but I am only really thinking aloud here. If the body makes no difference then, amplified, would not all three sound the same because (as far as the pickup is concerned) they are the same? Not trying to be argumentative but just trying to understand how it all works.

Just seen this thread. I am, indeed, a long time Mesa user. That's very much down to the quality of the gear itself. The TT-800s have just finished a two week UK tour and been excellent throughout. The combination of the Subway heads and cabs has proved to be a continuation of my original Bass400/Diesel set up. Where are you @Smiles? You're welcome to try my rig out if it's feasible.

I completely understand this. However, how does this work in the context of a Les Paul, 335 and big bodied 175, all with the same pickups, controls etc. They don't appear to sound the same but maybe there's something else at play.