bigjohn

I used to snap roundwounds every few years. Usually g strings. I used to use picks a lot and strike near the bridge. I've also got strong fingers and will bend bass strings. Then went on Thomastiks, which I had a penchant for snapping the A strings, never using picks. I stopped using those and went onto Labella flats, of which I've snapped a 105 E, but that was within about 5 days of stringing so I think that was a duff string. Not snapped one for a few years now since using the medium Labellas.

[quote name='JTUK' timestamp='1470314782' post='3105032'] I would say it is pretty essential otherwise your band sounds weak. It is no use having bass that is just heard as being 'there'.. Too many bass players do this with a middy sound and they do this to 'cut thru the mix', IMO. This can miss the point of bass in the band. No band will get good reviews sounding weak, IME. [/quote] Right, so you say you need lots of cab to not sound weak over 25m? how many gigs are there where you need to have enough "range" to cover that from a backline? I use a single Barefaced compact (with no EQ'd mid hump, P with tone rolled off) and I've never heard anyone say my bass doesn't carry, that's anywhere we've played, inside and out. As far as I'm concerned, the PA should be doing any heavy lifting required beyond where my tone is rich and full, which is further away than an acoustic drum kit would sound. I get that in some scenarios the PA is better taking care of higher frequencies, but I'm buggered if I'm lugging around an 30kg of cab to gigs in just in case the PA is underspecced. They generally aren't and I've yet to meet an engineer who says "oh brilliant, use your backline for bass, that's great", except in pub gigs. in which case having a rig that's doing the PA's job is a little moot.

Can't add much to what discreet says other than I totally agree. I roll my treble off completely with flats too. I restrung a bass for a mate the other day rotosound heavy strings. Been a while since I've played with rounds but I find myself rolling the treble up thinking "ooh, that sounds nice", but that's them and flats they're not.

Nah, nothing wrong with 3 pieces. If there is, just make it a 4.

[quote name='skankdelvar' timestamp='1468788461' post='3093364'] For me, the gigging and the associated hanging around in boozers talking complete bollocks are the best bits of all. Oh - and that golden moment when the landlord peels off some readies and tucks them in one's hot, sweaty mitt. The worst bits are the tedious, micro-managed rehearsals, the agonising over band names, the dicking around with running orders and the inevitable hat tantrums. That's what gives me the yips. [/quote] Couldn't agree more. I'm in it for the beers. I love playing in a band and the thrill of making music, but the beers are the best bit. Was it a good gig? My answer is always about the punters and if I enjoyed it. I enjoy rehearsing, but that has to be laid back and fun too. Which it is for me. We played a wedding last weekend. That was okay, but I didn't enjoy the fuss around it. The money was nice but it was stressful and affected my performance somewhat, not because I was nervous per se, but just didn't feel comfortable. That was to with the organisation and things spiralling. Give me a bar gig any day.

I bought a £300 power amp and killed it at it's first gig. Which was a freebie as it was our singers birthday party. There were loads of people there and I had no backup. Was fairly embarrassing to boot.

[quote name='Hobbayne' timestamp='1466978302' post='3080244'] Yes, she was excellent. Her timing and feel were excellent. I wonder if she is a hired hand or permanent member? [/quote] She's been playing with Tilbrook for years. She's a Fluffer.

[quote name='chris_b' timestamp='1464445385' post='3059519'] Running an amp at 4 ohms does not make it less reliable than running it at 8 ohms!! [/quote] All else equal it does. It will create more heat, meaning the transistors will, over time become more stressed. Whether or not that translates into this or that particular amp is not the point I was making. I had an amp that continually blew the power transistors even though it was running cabs it was rated for. Rewiring the cab so it was 16Ohm and not 4Ohm solved it completely.

[quote name='bigjimmyc' timestamp='1464440828' post='3059486'] There's some mileage in this if (a) you're not going to use a second cab and ( this 600W 4ohm driver is a big improvement on the existing 300W 8 ohm one. [b]It will allow you to use your amp's full output capability[/b]. [/quote] It will but the relationship between volume and power isn't linear. Swapping out a 300W 8Ohm driver for the equivalent 600W 4Ohm driver will produce very little, if any noticeable increase in volume, the only thing it will do is draw more power from the amp and create more heat. The result of which is likely to be a less reliable amp, which draws more power and runs hotter, not a louder one. The OP might be lucky that this produces a characteristic that they like. Good luck.

I have one too. Exactly the same. I have some La Bella flats on it. Mine came with La Bella rounds on though, I've not had to tweak the truss. I've thought about (though done none of) changing the bridge to the US Fender Jaguar one, so it's lockable, the Staytrem (I have the bridge on backwards to help intonate), the Buzz Stop, which increases the break at the bridge and, like you BRX, I'd like to change the tuners to some with better gearing. However I just noodle on mine at home so I've never really bothered with the upgrades. The strings make a massive difference. I raised my whole bridge when setting it up. The way I look at it, the bridge height does most of the work, the saddle height is for small adjustment. And yes, chorus on it is the nuts.

I've fried three different amps (luckily only once at a gig and they've all been mine) due to them being underpowered. I now prefer to have enough power (I use a 500W power amp that I barely turn up). And to run into 8Ohm+ loads. Power transistors work harder at lower impedances. However, the question makes no sense. How loud you sound depends on the room, your cab and your EQ before it depends on how much power your amp has. Then enough power to be heard with a drummer is one thing (easy done with a beat up old 50W solid state that's EQ'd to be heard) being heard with the right tone is another, then as above, not frying your amp! I have a nice 50W combo that I use when there's no drummer. That's fine, not because it's unusable with a drummer, but if I EQ'd it the way I wanted it, I'd fry it.

[quote name='Nicko' timestamp='1455639960' post='2980992'] I haven't spent much time in Liverpool, but it must be very sad to live in a place that is so caught up in its past, or more accurately one aspect of its past. It was a great trading city with a people full of humour but who have a reputation of being a little bit, erm emotional. There a few other places in the UK that are known for such a narrow slice of their past. As far as I know there is no tribute to the Rolling Stones in Dartford, there isn't a huge number of roundals in Woking, and I'm not sure theres many punks left on the Kings Road. [/quote] I grew up there. It's not caught up in the past any more than anywhere else to be fair. It's just the same as people coming to London to go to Tussauds or the Tower or whatever. You don't notice less when you live there than you notice adverts for musicals on the Tube in London. Much like London, there are plenty of other reasons to visit.

Loads, but the obvious ones I'd pick out are Jamerson, Alan Mair (The Only Ones) and Billy Talbot (Crazy Horse). Jamerson because I only have to hear one his lines to want to go home and pick up my bass, which is important as I don't practice anywhere near as much as I should. Alan Mair's work was what inspired me to stop being a very casual player and learn how to play a bit. I still listen to the Only Ones and have done since I was kid. I'm very fond of his tone and timing. Billy Talbot's influence is co-incidental, as much as I like him. Being in a Neil Young tribute has necessitated assimilation of his style somewhat.

There are gigging bands that don't write setlists?

I like Watford Valves and have bought from them before. I do prefer Mullards though, which are only available NOS or used. Same as the old Phillips and GE ones. The new ones just aren't as good and don't hold their resale value, which, if you're experimenting with different valves is surely a consideration. Don't buy Cryo if you do go new. It's snake oil. You'll get more of an idea using used valves with different gain.

I used to play with it rolled up, started, as you say, playing with it, now I roll the tone completely off .

Power required is determined by the frequencies and tone you want. I play and rehearse with the same rig. A 600W poweramp into a Barefaced Compact. I don't think this is too loud or over-powered. Since I've had my current rig, I've never been asked to turn down by soundmen. I play a Precision with the tone rolled off and a reasonably flat EQ. The gain on the poweramp is usually set to around 25%, which equates to round about the same volume level as an acoustic drum kit being played with reasonable vigour. 35%-40% and there's some distortion I don't want. I've played with 50W amps with our drummer and been fine, but that requires high mids and treble to cut through and thus changes our sound. Our rhythm guitar occupies a lot of that space.

Is there much difference between the stock and the Fender trem?

How annoyed I get with dings is usually relative to how stupid I've been when I've dinged. There's a couple of minor dings on my Precision. I don't know I did them and they don't bother me. Normal wear and tear. I have a ding on my Jazz that's to do with me dropping and juggling my phone from the other side of the room and it ending up smashing right into it. that one gets on my tits a bit.

I have a bass called Harry Dagger. I found it's name scratched under it's scratch plate.

Am thinking about doing some upgrades to mine. First is a proper fret dress, so the strings are coming off. New set of Labella flats going on. Whilst I'm at it I might tinker with the bridge / tremolo and am thinking about putting some original Kluson tuners on it. So the tremolo... is the Fender one a proper upgrade? Stemtrem bridge? Has anyone used a Buzzstop to improve the break angle?

I'd be keeping an eye out for an Ampeg B100R. They're great for at home and loud enough to keep up with a drummer. Proper traditional tone. Valve pre. They look nice and are US made and relatively uncommon so will appreciate over time. Can be found under budget. You might even get a B200R. They're great amps, no compromise there.