Franticsmurf

I'm sorry but I couldn't tell you how the bridge affects the sound as I don't really have any experience of comparing the two designs. I bought it because I was on the lookout for a semi acoustic to give me that woody sound as the band were doing songs that could benefit from it. It was also bought to replace an acoustic bass that just wasn't holding up at acoustic gigs. I'm very happy with the sound - it's usually played via a clean pre-amp with little shaping into the desk as the natural tone needs nothing else (in my opinion). I had previously tried a Sire GB5 which was a nice bass but uncomfortable to play and the sound was too 'clean'(i.e. not woody). I was fortunate enough to see the AGBR200 2nd hand in GAK and snapped it up.

My unscientific measurement suggests that the string spacing at the bridge of my AGBR200 is 18.5mm with an overall width (outer edge of string to outer edge of string) of 57.5mm.

Ibanez AGB200 or the tastefully reliced AGBR200. They are short scale basses but very nice to play and a lovely 'woody' sound.

I used to gig with an Epiphone EB 3 which had awful neck dive and sounded very muddy. I've used Gretsch Electromatic which looked nice (I love the Les Paul shape) but lacked definition as well. That's moved on to a better home (my dep in the band). I have an Ibanez EHB1000s which I've used as my main bass where space is an issue, and as a back up as it's small and convenient and I can dial in a decent sound. I also gig an Ibanez AGBV200 semi acoustic. Short scale basses are easier to play for me as I have guitard sized hands, but I still prefer long scale. But if I have a tricky fast piece to record, I'll usually reach for a shorty.

A good rehearsal really boosts the batteries.

I have the same attitude about my two main hobbies - photography and music. When I worked, they were my escape and stress busters and while both have earned me money over the years, I made sure that neither became sources of income that I relied on. This has meant that I can still enjoy both today and I can choose the projects/band/assignments that I get involved with.

When I was in my first band playing our own songs, the main writer was the drummer. He was very good, but had limited bass and guitar skills. He'd bring chords and rough lyrics to a rehearsal and we'd set off from there. I was the guitarist at the time so we'd work together (the drummer was my best mate from school so we were on the same wavelength) but my main contributions were riffs and middle eights. If I wrote a song on my own, it was usually reasonably complete and, without the influence of others, not the sort of song the band was looking for. The other guys would also write now and again and more than once we jammed new songs pretty much from scratch in rehearsals. The singer was usually responsible for the final lyrics. I write my own songs now but I do miss the collaborative process and it tends to take a lot longer for me to finish a song. I often find myself with a form of writer's block which a second opinion would usually overcome. We tried remote writing during lockdown but the spontaneity wasn't there.

I had to stop watching as it was so annoying. The cameraperson was clearly trying out their new steadycam rig. 🙂 Kept listening, though, and the performance was amazing.

Thanks for this Phil. It took me a couple of read throughs to get it and my simplistic, non-technical 'take-away' is that if you expect to increase your amp volume between rehearsal and gig, then also expect to change the EQ balance to retain your sound/tone at the new volume. From a practical application point of view, expect to have to lower the bass and treble EQ levels or raise the mids in order to keep the same tone. I will be trying this at the next rehearsal (using the difference in home practice to band rehearsal volumes).

I find that no matter how much time I spend on nailing a bassline, run fill etc at home, it takes two or three (or sometimes more) run throughs with the band before I can play it as well as I could in personal practice.

Having recently acquired and SR300, I would agree with @TimR that it is a very good bass for the money (mine was a shade under £300. But being a 'new' bassist, I think the right way forward is, as @Len_derby has said, to try a selection of different basses. Being an ex-guitarist (I came to bass via the same route many years ago) it's about string spacing, neck profile etc - in other words the feel of the bass - as there are a number options that affect playability. One bass to consider is the Bass VI in all its forms. It's a six string, short scale bass that has very narrow string spacing (closer to a guitar than bass). Coming over from guitar, this might result in less of a learning curve. There are version from several manufacturers - I have a Harley Benton (Thomann own brand) one which is very nice and was cheap but there are Fender and Fender Squire versions as well as other brands that I'm sure others here will be able to talk about. I think there's a dedicated thread to the Bass VI in the 'Bass Guitars' Forum (click on the forum and do a search).

Great song and video. Loved the lipstick writing and removing letters to make new words/meanings. I liked the bass drone and the sound used for it - bass guitar plus pedals or bass synth (or both)? And, for a reason I can't explain, I really liked the countdown at the end. Good luck with the album release.

If I can't hear myself play, I struggle make loads of mistakes (or think I do) and tend to revert to the simple stuff. Sounds like you may be in a vicious circle. Rehearsals are where you make mistakes because you're trying stuff, hearing what works well and what doesn't. Do you respect them as musicians and do you think there is any reason why they would mislead you? Ask your band mates for constructive criticism rather than just 'that was great'. Maybe that's because you've already turned down and they're used to the low volume, or the overall mix is wrong (usually the geetard has the bass control on his amp too high or the keys player is venturing into forbidden areas on the keyboard). I hope the above doesn't come across as harsh - I've been where you are and I've worked with musicians who have a similar outlook. For the rehearsals with the band, go back to the bassics (pun intended 🙂) and slowly build up your part according to what the song needs. Turn up the volume so you can hear yourself. Separate your home practices into 'for the band' and 'technique/technical' and once the latter gets frustrating, stop and jam some simple blues to remind yourself why you play. I had a dep job in September and I had two weeks to learn about 30 songs. More than half I didn't actually know and during the first week I was getting so frustrated at not being able to play along to them that my confidence took a big hit. I almost backed out of the gig. But then something clicked, I dialed back the emphasis on the technical stuff and remembered that I was standing in at short notice and thereby took some pressure off myself. What I found was that in week 2, I was able to get more of the songs nailed and towards the end of the week, as my confidence grew again, I fund adding the fills and polish became easier. The gig was a success; I made some mistakes but they've asked me to dep again for them.

I've never thought of myself as an artist but rather as a musician/bass player/guitarist. A bit like @SumOne and @Dad3353 above, I can't help feeling the term 'artist' a little pretentious but for me the pretention is when the title is self assigned. I would have no problem (in fact no opinion either way) if someone called me an artist but I wouldn't use the term myself to describe me. I agree the term gives no particularly special status, probably because as has also been said above, it is used so freely. There is no equivalent (as far as I know) to the differentiation between 'craftsman' and 'master craftsman'.

This is my current budget cheap one. A 2021 Indonesian Squire PJ picked up in July for £125. The only change I have made is to swap the scratchplate for the one in the photo. It was bought to act as a 'look-alike' back up for my PBass for gigs that needed the P Bass look and sound. It sounds great, particularly with the bridge pick up volume backed off a little to emphasise the 'P' pick up. I haven't touched the action or any of the hardware and the only work I've done to it was to give it a good clean. It's currently the bass of choice for an upcoming Country & Western gig the Hulla are doing in November.

My main band, The Hulla, plays a range of stuff depending on the occasion. But this was our 2025 festival set with a couple tacked on at the end which I think is a fair representation of what we do: Ecstacy of Gold Born in the USA Teenage Kicks 20th Century Boy Cigarettes and Alcohol 17 Going Under Suffragette City Heroes Sloop John B Dakota For What Its Worth Knocking on Heaven's Door Run One Day Like This Like a Prayer Burning Love House of the Rising Sun Seven Nights to Rock Johnny 99 You Shook Me All Night Long I Feel Good Love Story Surfing USA Bare Necessities Staying Alive Texas Hold 'em Nice to Meet You Treat Her Right Land of a Thousand Dances Proud Mary Mony Mony Shout Country Girl Your Love Daydream Believer Country Roads Sweet Caroline Hey Jude 500 Miles Three Little Birds A Town Called Malice Pencil Full of Lead

Ignore him, he's playing with your mind. They were a story told to young bassists to scare them in t'olden days. 🙂

Mine has the twin pole jazz pick up and I haven't noticed any significant drop off in volume. It was one of the things I was prepared for after reading other reviews, but it hasn't manifested itself here. Thanks. The finish was the trigger for me. I would have gone for the Z3 but I didn't like any of the finishes.

Early days as I have yet to gig it to be able to make a definite comparison. I play a Sterling 34HH (the Z7 was intended as a back up to keep a similar sound) and so far, at home volume levels, the sound from the bridge pick up appears the same. The Z7 pre-amp seems to provide more tonal variety in active mode (I don't know if this is as a result of it being 18v rather than the Sterling's 9v). Unlike some reviews, I've found my neck pick up doesn't have a volume drop. In active mode it can get quite thick and bassy but it doesn't quite match the 34HH's neck pick up. So far I don't think it's a Sterling Killer but then I never rated my ATK as one, either. But I reserve the right to change my mind after I've used in in anger. 🙂

I've only ever bought two new basses in 35 years. All the rest are 2nd hand/pre-loved/used and/or part exchanges. The bass I'm using for the C&W gig next month (a Squire PJ) cost me £100 and got compliments from our sound engineer at rehearsals.

I consider myself able to play by ear, and I find it harder (but not impossible) to play from notes without having run through the song a few times. I can't read music to the standard of being able to follow the dots in real time. My notes are usually reminders, limited to parts of the song that vary from the standard pattern, particular fills or runs that are needed for the song and, if required, notes about odd arrangements. I'll also make notes about effects, pick-up selection etc. I can pick up songs without a written guide, and this is the usual way for me to work out a new song. I will refer to some kind of guide (online or other band member) only if I have to. I can't play something straight off having heard it only once, although I can usually join in following a few test runs. We were auditioning songs during Sunday's rehearsal (we're working on a Country set for a specific gig) and I was able to pick up most of the bass lines within the first verse. As above, I'll be able to play the song without having identified the key. Alternatively, if I have the key I'm usually able to make a valid contribution to the song. I've never tested myself, but I'm fairly certain I can identify a 3rd and a fifth.

A break can be good for you. I took a break years ago and it worked wonders. I came back refreshed and a became a better player. It also meant I continued to enjoy playing rather than getting jaded and put off by the exasperation I was feeling. Don't make the mistake I did of selling almost everything, though.

I've had my eye on one of these for a while and have been reading the comments/reviews on the topics that mention the Z7. On Wednesday I had my replacement credit card and it had to be road tested and... well... ummm... I was looking for a natural finish but when searching Anderton's website, the only Z7s with this finish were 5 strings. But search for natural finish basses without using the manufacturer's name and these pop up. The QC and setup out of the box were great and I don't see (hear?) the need to fiddle to make any improvements so far. The pre-amp set up will take a while - I've only played through headphones so far but it seems there are a lot of potential options. I can see what everyone is saying about the knobs feeling cheap and I'll be looking for replacements at some point. I also think the two stacked knobs seem quite vulnerable to knocks, particularly if the bass is on a stand on a stage. Mine weighs in at 4.4kg (9.7lbs).

I have 10 basses of which I count 2 as my 'main' gigging basses. I like having the choice, though and I have gigged every one of the 10 over the last three years or so. My main band plays a wide range of covers which change quite frequently as we tailor the set to the function we've been asked to play. The feel of the set determines which of the main basses I use. For example, we play a long festival set every year which is usually heavier and rockier and for this I use my Sterling 34HH. We also have a regular Christmas gig for the Local Crown Court service and as this is a more laid back affair, the P Bass comes out. As we are a large band (13) if I know the venue is small I'll bring a headless bass and if space is particularly tight (I can think of two venues we've played several times) I have my Ibanez short scale headless. I like to have a spare guitar at gigs and it recently occurred to me that if I'm making the effort to match the main guitar to the gig, I should also match the spare to the main guitar. So I have a Squire PJ to use at 'Precision' gigs, and an incoming Sire Z7 to use at 'Sterling' gigs. The full list: Sterling 34HH Fender Precision Ibanez EHB100S Squire PJ (Sire Z7) Hohner 'The Jack' Spirit XZ2 Ibanez GSR 205 (5 string) Ibanez SR300 Ibanez AGBR 200 semi acoustic Edit: And a Harley Benton Fretless Jazz which I've used in rehearsal and on recordings but not gigged.

In recent years this has been my experience too. With a couple of exceptions, it feels as if people are less concerned about the band and its certainly not the main reason for being at the venue. The couple of exceptions I've experienced have both been bands with a more professional attitude than has become the norm, a set that doesn't include the same or similar songs to every other local band and that as a result of the first two have attracted a following.