chris_b

I had a friend (a confirmed 4 string player) try out my Mike Lull PJ5. Their comment when playing it was, "I wish I'd played this one first".

I thought that Macca used Boogie and the other bass player, Brian Ray, was the one using Ashdown.

I listen to lyrics, but only because they are signposts. Part of the format of the song. Apart from that, I listen to the band more and the drummer the most. I don't care what music politicians listen to. I have no interest in knowing what their favourite colour is or their favourite food.

Mate, sorry to hear that. I hope your "bounce" comes back quickly. Time for some of that Motown?

I like Ron. An old rocker giving a couple of old pot boilers a blast. Great fun. The vocals were a little croaky, but what do you expect? The guy should be dead and he's out there, into his 70's, still rocking his socks off. The Wild 5 pumped more energy into a playing a few 12 bars that the rest of the studio put into all theirs songs put together. If you're going to criticize the pedal steel playing, well, I'm with you there. I've seen many Ron Wood gigs, from the Birds to the Stones. I'm sure I remember more of them than he does! OK shoot me! Despite the obvious "moments", it was the high point of the series for me.

I had a MM HD130 Reverb and Peavey 115 BW and an HD150 with MM 212 reflex cab, both in the mid 80's. Pretty good sound as I recall. I've no idea what could be wrong, it could easily be valves, but I believe the caps don't work too well if they haven't been used for a long time. I'd take the amp to be checked out by a professional repair man.

Produced by WIllie Dixon.

I insure myself. Having been playing for over 50 years and never made a claim (never had an accident or loss) I'm currently offering myself a 100% no claims bonus.

That was my preferred layout. SC's also sound particularly good with Aguilar amps.

I bought my amp cases from Maplins. When they went under I got a spare aluminium case for about £7. A drummer friend uses plumbers/tool bags from DIY stores instead of traps cases.

Anyone who is asked for their NI number should be checking with Citizens Advice or other help organisations.

The website actually makes a different point, "similar to what a high quality 2x12" or 4x10" cab can manage before the lows fail to keep up with the mids".

I don't angle my cabs, because I don't have a problem hearing them when they are on the floor. I guess I'm lucky, everyone I play with gets a good balance so I'm not playing with 1/2 stack wielding, guitar playing, "I need to play this loud to get my sound", idiots. If I was playing with guys like that, and being drowned out, I'd be using 2 cabs, which I do anyway, not for volume, but because I prefer the sound/tone of 2 cabs. I also find the bass is accentuated by the ear plugs I use. The top end is reduced which leaves the bass forward in the mix.

For all the 112 players who can't hear their cabs, angle them up. You don't need a wedge shaped cab, just improvise.

Riff songs. Warning: May contain middle 8's. Sing A Simple Song - Sly and the Family Stone Express Yourself - Charles Wright and the 103rd Street Rhythm Band Get On Up, Get On The Good Foot, Soul Power, Licking Stick - James Brown Move On Up - Curtis Mayfield Superstition - Stevie Wonder Play That Funky Music - Wild Cherry Same Love, Lonely Town Lonely Street, Who Is He, Grand Ma's Hands - Bill Withers

My best gear purchase this year is a Barefaced Super Midget. It's the only thing I've bought so there isn't a worst.

Time Is Tight, Green Onions - Booket T and the MG's Cocaine, Same Old Blues - JJ Cale Higher and Higher - Jackie Wilson Papa Was A Rolling Stone, Ball Of Confusion, My Girl - The Temptations

I believe he's playing his Custom Shop Sean Hurley 1961 Precision bass. Comes with the mute. The last thing I'd buy would be a mute when a piece of foam does the job just as well. This isn't my favourite P bass tone, but the playing has a beautiful groove.

The first thing I did when I got my Mike Lull PJ5 was to put on a set of DR High Beams. What a great sound. I later went with a set of TI flats . My Jazz bass gets all the gigs these days (now on my 3rd set of NYXL's) but occasionally I have an inkling for another P bass with rounds.

I did a dep gig a week ago and the drummer packed up 3 drums cases and a cymbals case, all fixed to a trolley. The stands were in a bag on his back. The gig was near Ladbroke Grove and he was getting a bus to Walthamstow. Trolleys, buses and gigs can work.

All amps will have similar EQ, until you get into the super amps, so I don't know if changing amps really buys you much. Having said that the reviews of the Berg Forte seems to indicate it is something special, if pricey. If you always have access to backline and a PA then I'd keep your amp. If you need a full rig and want to change, then I'd keep the head, get a Super Compact and a good trolley. You'll have a clean sound , headroom to spare and be as light and manoeuvrable as you can get these days. The SC is only about 6" wider and taller than the One10, so marginally larger but will have a great deal more tone and volume.

I played through 2 SC's and they were a great sound but I was after a little more top end so I replaced one with an SM and now I'm happy as. I use both cabs on quiet/small gigs because, even at low volume, I just like the sound of them together.

On the website, Alex does a comparison between the old Midget and the Super Midget and there is some info on the differences between the BB2 and the SM, but you would probably get a fuller answer that question via an email to BF.

That's like replacing a Ford Focus Estate with a Mercedes Benz GLS SUV. Go for it you'll be amazed at the step up in sound quality. And that's not taking anything away from Markbass or Fords.

Why do I keep doing this? What else can I do. Playing to an audience with great musicians is the biggest buzz I've found so far in this life. Getting it right just makes me smile inside and want to do it again and again.