Lozz196

If not looking for the Ashdown tone then I’d be looking at the frequencies on the ABM eq that are used, then see which other amps have those, so that you can get your sound easily.

Reminds me of a gig I did a few years back, the kick drum for the band before us was a big pillowy reverberating mess so I said to the sound man that our kick drum sound was sharp & snappy so could he make sure this came across. His reply was that “he knew the room”. My reply was “well if you do why are you ruining that bands gig then”. I thought it was a valid question.

I really wish I could do that, one bass/amp/pedal (if needed). But I know myself too well. Whatever happens I’d always have a backup bass whilst still gigging.

Not a particular fan but they do have a few songs which I really like. Given the recommendations above I think it best if I do a re check on them.

Sadly Mensi passed away due to COVID. Although I wasn’t a real fan of the band they were very good live, and despite his somewhat fearsome reputation he had a really dry wit on stage.

It would have been XSLF, the “other half” of the original band. SLF are still playing the bigger venues like The Roundhouse& O2 Academies with in-house PAs and their own full backlines, whereas XSLF are doing the smaller venues and rely on the local bands to provide the backlines (and sometimes PAs).

This is only in the rehearsal studio. It’s also using their Ampeg SVT 350H which is not a particularly great amp imo.

In my classic rock band I struggle with an 810. @Downunderwonders quote of caffeine fuelled chimp comes to mind.

We only ever relied on other bands gear once when we were the headliners. We were asked to do a one-off gig in Munich, and there were two other bands on tour in that neck of the woods so it was arranged by the promoter to use their gear rather than us drive all the way there with our backline - it`s a very long way to Munich, and we weren`t quite big enough to command a fee that would cover that kind of expense. The gig was packed out so worked well for all bands, with plenty of merch sales all round. We would have bought them beers to say thanks but being a gig in Germany more beer was provided than the three bands could drink anyway.

Yes, that was Ali McCordie, he`s currently in the "real" Stiff Little Fingers with Jake Burns (and currently uses a Stingray), whereas Henrys XSLF is Henry Cluney & Jim Reilly from SLFs Nobody`s Hero era, with Avi on bass (who is a monster bassist btw).

Yes Henry’s XSLF travel with minimal gear, guitar, bass, picks & sticks, bands unwilling to lend backline either get put first on the bill or if only two bands don’t get asked to play at all. They’re actually a decent bunch of guys, very respectful of the gear they use, but like anything if you don’t know them why take the chance.

I think it would be Cliffs role in AC/DC for me.

I love that phrase, over caffeinated chimp, will def remember that one

I have to admit I’m very tempted by the black Sterling Ray34 which has mahogany as the body wood rather than ash, plus rosewood fretboard, think one of these strung with nickel rounds might just be far enough away from the traditional active ice-pick sound which I associate with a ‘Ray when it’s in my hands.

Dakota, Sweet Home Alabama

At a gig our singer/guitarists strap button came out mid-song, someone rushed over with a replacement Les Paul for him but due to his strap locks he couldn’t use it so had to get his own backup from behind the stage. So I use the rubber washer type things, work ok and hopefully similar won’t happen to me.

The thing for me is, just because you have a load of speakers doesn`t have to mean that the amp is on full. Years ago in a punk covers band myself and the 2 guitars had 4x12 cabs, yet our drummer was a quiet drummer and played with very light sticks so we simply matched his volume with said 4x12s. The band sounded great - audience words not mine, though I did agree. When we re-formed we`d all bought smaller amps/speakers (higher spec & higher priced), and although the volume was the same that quality/depth of sound was no longer there. Again audience words, and again I agreed. These words from people who`d been coming to see us for years, and who probably weren`t musicians, but could tell there was something different. Now I know there will be some (many?) who will say well you should have eq-d better, etc, but I know that in regards to my last rig it sounded best with both the 410 & 210 together, very good with the 410, good with the 210. I think my ears just prefer the sound when there`s a lot of speakers going - mucho cabbage! But I know my back would disagree.

I`m not keen on bass (or drums as it happens) in the monitors anyway, I like to keep them for vocals & guitars. I don`t my amp majorly loud on stage, just same volume as unamplified drums, as such for a venue such as O2 Academy I`d want something big enough to not struggle/be pushed. Most of us have watched some of Glastonbury over the weekend, I wonder why all those pro bassists seemed to be happy with big rigs on those big stages, they could learn a lot from logging on here.

Agree, without wanting to push this thread off-course this action in The Land of The Free does confuse me somewhat. Great when musicians speak up about matters like this - and I include subjects on which I don`t personally agree as well.

I love Stingrays, they just fit me so well, and play like a dream, the downside is that I don’t make them sound very nice, unlike seemingly every other bassist who plays them.

For that I would have used my Ashdown ABM600 with matching 210 & 410 cabs.

I never noticed any real difference when I had both my 410 and 210 connected up. Other than it was easier to hear of course, but adding in the 210 didn’t seem to change the sound at all.

Just scored a Player Precision in white/pau ferro from the bay. Have decided that I’ll be gigging MIM basses in future due to not wanting to take US basses to the venues we play. Not cos they’re rough, more that there’s usually no designated storage areas so if my bass gets knocked over in its case I’d prefer it to not be an expensive US one. Had a Player before - albeit maple fretboard - liked it so made sense to get another.

I agree, I’d know the difference between my own two amps (Ashdown ABM600 & RM500) if I were on a very large stage, but would I be able to tell if I walked into a venue if a bassist was using Class D or A/B without looking at the set up, well I very much doubt it. If anything I think this thread is a bit unfair on Class D amps, they’re not full valve, they’re not A/B, so maybe we should look at them for what they actually are, rather than what they aren’t. I know my gigging life has been made a lot easier thanks to Class D amps, although I do prefer to use my A/B amp if possible.

Watching Noel Gallaghers High Flying Birds, not a particular fan but easy enough on the ear and the bassist, Russell Pritchard plays some very nice melodic lines on a very nice looking sunburst Precision.