Lozz196

In the past I swapped out the pickups in my Mex Precisions for Toneriders, which sound very similar to the Custom Shop 62s which are in my US Precisions. The stock pickups had more treble and less bass - on a Sansamp to get the sounds the same stock the bass would be on midday, treble on 11 o`clock, Toneriders bass on 10 o`clock, treble on 1 o`clock. I could have left them and just remembered these settings but in a gig situation if needing my backup I don`t want to also have to re-eq, just want to plug & play. Plus I`m more than a tad OCD so having gigging basses which sound the same is a kind-of must more me. And even then the sound just seemed more full & rich.

Maybe on the earlier stuff but as with most things once "the money" side of the business came in I daresay the record companies wanted something a bit more cultured.

I have the RM500 EVO-2, it’s the fullest sounding Class D amp that I’ve had. It’s very versatile, nice & powerful, and light/portable. Plus Ashdowns legendary customer service in the unlikely event of a problem.

I use the Shape on both my Ashdown amps, and on my Sansamp reduce the mids on the 500hz setting. Seems to suit a Precision in a rock type setting with hum bucking guitars.

Spex Pistols

Nice one @MattW I’ll bet that sounds awesome, those 408s are great cabs.

Does depend on the bass as well, it can be fine scooping mids on a Precision as they have a ton & a half of them.

Putting a bit too much on your roadies there @Franticsmurf

Agree, play an encore if asked for it, if you weren`t go back to the studio & practice a bit more so you play better at the next gig where you might then get asked for one. My thoughts were to always keep one of the best songs back for a possible encore rather than play all your best ones then the encore not being as good as the set that was before it.

Providing the band have a big enough fan base then new single to start the encore sounds good to me.

Must admit I`m thinking of this approach for my next overseas gigs - should I have any of course.

I reckon you`re right, I connected my TH500 to many different cabs and in a punk/Oi band never needed it on any more than 11 o`clock on the volume, and that was if on a very big stage - admittedly FOH was covering the venue, but if I`d had it at that volume in a regular pub sized venue it would have obliterated the volume of the rest of the band.

I went to see The Stranglers when Golden Brown was in the charts, great gig and there was a real buzz & energy in the audience that I - at 16 - hadn’t experienced at other gigs, even though I’d seen some other high profile bands by then. Was it the popularity of Golden Brown, who knows, but it was great gig.

The only 2 compressors I`ve used that I could really get on with were the on-board ones on a TC Classic 450 and an Ampeg PF500. Turn, set & go, didn`t detract from the overall sound, nice & easy. Every other compressor I`ve tried, be they pedals or on-board other amps I`ve not been able to get what I want from them.

My only experience with any of the amps listed is the Ashdown - the 500 watt version. Great little amp, very powerful, and the “heftiest” sounding Class D amp I’ve had. Would fit your list of requirements, plus based in the UK with great customer service so in the unlikely event that it develops a fault pretty easy to get sorted.

It`s certainly a lot more of a "cultured" sound nowadays. The playing style is unmistakable but the sound doesn`t reflect his earlier work for sure.

I think try and borrow another bass and amp from somewhere to try and find out where the problem lies - the TH500 connected to those two cabs making a 610 should be deafening, there`s something wrong somewhere.

Yep, when the song starts it sounds like it`s on the stereo, but when the bass comes in it sounds like it`s actually in the room with you.

In the music I listen to - punk/Oi/rock - it’s the Fender Precision.

The TH500 is a loud amp, what speaker are you hooking it up to, as I had one and I think I would have blown my eardrums out running it anywhere near max. In general (and as an answer to Q5) I run a preamp pedal to always have the same sound to the FOH, irrespective of what amp/cab is on the stage. This way I can also adjust the amp to suit my on stage needs without it affecting what the audience hear.

Would have been when I played on a few songs in the Christmas play for the school orchestra, no idea what they were tho as never heard them since.

Being old fat & bald never stopped me. But only cos I never started 🤣 On a serious note I think Tony Butler was spot on in that conversation Rich.

I reckon it’s a laptop

For the first time in years I adopted this approach at the gig I did on Saturday, for some reason it felt incredibly liberating.

I ordered some a while back, then read the reviews, none of which were favourable so I sent them back. A great shame really as in general I find D’Addario strings very nice to play, would have been great if they lived up to the expectations but many of the reviewers said that out of the pack they just sounded like dead rounds so they were going back to their Elixirs - which is what I currently use.