chris_b

I was thinking along the same lines, but as I am finding out, it's difficult to support UK manufacturers as we hardy make anything anymore, and the "best" (my preference), seems to come from elsewhere. My UK Cabs are taken care of. I'll probably just stay with my USA made amps. My budget is pretty limited these days so my chance of buying another quality UK made bass guitar is pretty limited. I put the thread up to see if anyone else has UK made gear that I had missed. Thanks for all the replies.

Unless they were designed to be mixed. Mesa Subway, Bergantino and my EV loaded Mesa cabs do/did mix. Others may do but you'll have to find that out.

GK Head Office will be driving this and some pub managers probably aren't interested. Call Head Office and talk to them.

I should add Japan to my list. . . . my Sadowsky Metro was made there. It's only my #1 bass, so how could I forget that! When I started there were dozens of amp companies manufacturing in the UK; Vox, Marshall, Burns, Hiwatt, Wallace, Park, Baldwin, Watkins/WEM, Carlsbro, Simms-Watts, Orange, Sound City, Selmer and Alligator. Later there was Trace Elliot and Ashdown. Did Session ever make a bass amp? Who is left? Trace, Orange and Ashdown, but I'm not sure if they are still manufacturing in the UK.

Until now my main criteria for buying gear is that it makes the right sound and I can afford it. That will never change, but including specifically UK made gear is something that might be of interest to me. Which ABM do you have? Apart from the custom amps, I thought their amps were now built in China.

Over the years I've owned gear made in the UK, Denmark, USA, Germany and Italy. Recently I realised that I've never owned the full set of UK made gear at the same time, so I've been contemplating putting together such a rig. In the past I have owned UK made gear, 2 Wal basses, Vox and Marshall rigs and now use UK made cabs, covers and leads, Barefaced, Roqsolid and OBBM, and I briefly owned a Thumpinator but I've never gigged a full set of UK made gear. I'm limiting this to actually made in the UK. I had a lot of time on my hands during Lockdown! Is this something that people think about? Does anyone load up their car with exclusively UK made gear when they head off to a gig? What have you got? What do you like about it?

It's a long time since I had enough gigs to be able to pick and choose who I play for based on the company's business model!! I have no shame. I even used to gig in Watney's pubs when they were foisting Red Barrel on an unsuspecting public. We are seeing some pubs going cashless. I'm now being paid by bank transfer and even PayPal on some of my gigs. One regular pub had even stopped accepting cash from the customers! It's all change. We have to learn to live with these changes or risk sitting at home for months waiting for cash only gigs to come up.

No idea. Whatever the classic single soil sound is.

The drummer drove me to the gig tonight. Drum machine can't do that!

I had the opposite of this last night. Struggling with my sound on stage only to be told that the bass sounded great out front. We were in a corner, one wall of brick and the other was ceiling to floor windows/glass. I couldn't dial out a boom, but out front it was OK, so I put up with it.

It's only 130 watts into the internal speaker. Be prepared to add an extension cab. Personally I'd prefer a good 112 and a separate amp.

Is it still only 4 ohm min? I don't want 4 ohms. For 1000watts I want at least 2.67 ohms.

No interest here. I haven't found a signature bass that was any better than the generic model it was based on, and they're usually more expensive!!

I played a CS Pino Precision once. It was an exceptionally nice bass to play. Custom made basses aren't for me. I wouldn't know what options to order and by the time the bass turned up I would have probably changed my mind.

Ry Cooder's soundtrack for Paris, Texas was pretty special. Anything John Williams wrote. Alabama 3's Sopranos theme song. Jesse Winchester's Step By Step from the Wire. . . and Down In the Hole, Walk On Gilded Splinters etc.

Stand By Me is a 1 verse listen, so is Werewolves of London and A Girl Like You. There is a long list of busk-able hit songs. Agree or disagree. . . . ffs why is this thread getting so aggressive and pedantic. Some songs you can busk some you can't. Depends on the song and the bass player. . . . move on!!!

I'd suggest that the number of bassists requiring this level of flexibility or this number of choices is very small. If you need to emulate the sound of a dozen different amps then I guess these pieces of kit are for you. I don't and I don't see any of the bassists regularly playing gigs around town, most of whom don't even use pedals, wanting that either. As always YMMV

He should tell them and offer to step aside. Have a band vote and if the outcome is to find another drummer then that's what you do.

Hey, it's a good Country song. I love the sound of the original recording. There's also a great version on Daryl's House.

I have a dismal record at auditions. I failed most of them. . . . . . . except the one in 1985 that kicked off a run of phone calls that is still working to this day. It is getting harder to be at the right place at the right time, but word of mouth is the only thing that's worked for me. On Thursday I've got the first gig with a friend of a band that I hooked up with (after a phone call) just after lockdown #3. He saw us a couple of months ago and me and the drummer got a call. I am crap at networking but it's the only way to ensure you're dealing with good players.

How do you define rehearse? Both Carol Kaye and Chuck Rainey said you got 3 takes on film score sessions. The first time was the run through, the second time was the take. The third time was the last chance before you were marked down not to be called next time.

Like casting the right actor for the part, there is a whole industry for selecting and placing the right piece of music into films.

We all have preferences, but the first thing any serious musician should do is ditch the blinkers.

The one thing I hate is the drum sound that was used on so many recordings in the 80's. There was some fantastic music ruined by over compressed and processed drums, like everything by Tina Turner, Robert Palmer etc etc.

Everything in a culture evolves. If it doesn't something is seriously wrong.