Lozz196

Yep, being good enough to gig includes being good enough to carry on when you - or another band member - makes a mistake, rather than just stopping or the song falling apart. Because mistakes are inevitable, it’s how you deal with them that counts.

I’m sure you could get an aged refin, maybe contact Mark at Limelight as his basses come in a variety of worn finishes.

Same here, only one sound man problem, who told me he had a really difficult time making my JJ Burnel type sound into a regular James Jamerson Precision sound (he was quite proud of how he managed this). Given we were a punk band I wasn’t sure why he’d want to do that but as it was after the gig nothing I could do. Other than that never a problem.

Same here, I love playing bass, in 2020 when C19 was really raging I learnt many new songs and have become much better on the instrument as a whole, I think the bass really helped me throughout that period.

I had one of these, the 4ohm version. Was a nice cab, my only criticism would be that for touring I thought as it had a cloth front rather than metal grill that might get damaged easily. It was also not as deep as the ABM cabs so I`d be dubious about stacking two together, but as a standalone cab it was good.

As the 400+ does 2ohms have you considered the Ampeg SVT212? At 4ohms and 30kg a pair of those would sound amazing, apparently they’re the nearest other Ampeg cab in sound to the famed fridge. You then have the flexibility of using just one if the situation warrants it, without having to re-eq.

Nice one, I agree that Ampeg amps sound so much better with Ampeg cabs.

The RM500 is a great amp, I’ll never tire off recommending it.

As my gigging band is an originals band it depends on the gig, some have provided rigs, or cabs so: Bass - always Clip on tuner - always Preamp/DI - always Bag of leads/spare strings - always Amp - depends Cabs - depends In my last band I always took a backup bass but in this band the 2 guitarists don’t take backups so I’m not either.

Ok, I’ve had one of these before, but back then the sound I wanted I couldn’t coax from it, ie the Sansamp sound. This time round however I need a more generic bass sound with a bit of drive for classic rock tones, a sit in the mix type of sound. I’ve been on a quest for a while and got near to what I’m after but never exactly there until today. Previously I’ve found that either the bass is just too much, the treble isn’t in the right frequency, the drive just too harsh, or the pedal needs a PSU. But the SCR-DI is right on every aspect. I’m really glad I decided to take a punt on one of these again.

My only wish for the OriginAL is that it could run on batteries. The last gig I played there`s no way I would have been able to get to the plug sockets to either unplug something or plug a PSU in, so my Sansamp gets the gigs even though I far prefer the OriginAL.

I had a Kia C’eed Estate which with the seats not folded down I could fit bass in hard case, bass in gig bag, Ashdown ABM600 & 410, plus bag of leads. Fold the seats down and I could add 2 guitars in hard cases, Marshall JCM900 & 412, another leads bag, and 2 small cases for luggage.

And almond oil too.

Given that you can’t always rely on monitoring I like to have a set up that I know the whole band will be able to hear if the monitors (or sound person) are poor. The set up you describe should be fine for all but the huge O2 type stages.

The newer ones address this quite nicely, both my ABM600 & RM500 have plenty of highs, but I do know what you mean, I had an old ABM500 and that wasn`t all that sharp on top-end.

I use the same gauge - when I can get them - but stainless steel. I think they’re great, a better balance in sound than 45-105s imo. 45-100 my preferred gauge, if not 50-105, sadly neither seem to be around at present.

Mine too, sound great and I get nearly a years use from them

As you’re looking at doing bigger stages I’d look at one of the 212 models, Super Twin or if you want a tweeter Big Twin 2. If a Super12 or Super12T comes up on here I’d grab that.

I’ve eyed these for a while, being an Ashdown fanboy, only thing that has stopped me is having too many Precisions already.

Well as transparent is what you’re after Barefaced would be a good call. They’re incredibly powerful and will take whatever is thrown at them, plus lightweight too. There are usually some up for grabs on here. I’d avoid the 1x10, 2x10 & 4x10 though, these are their vintage range and are voiced like old school cabs.

I wouldn’t put the Tonehammer as a transparent amp, although it is a very good amp. For what’s required I’d suggest an Ashdown RM500 as there’s an eq on/off selector, possibly the nearest to what you want to do, and is in fact what I used to do, just plug bass to pedalboard into amp, all eq bypassed. Either DI from what’s on the pedalboard or from the amp.

He must have to do weight training on his fingers for those

Does what it says on the tin!

And you’ll probably find that you love them, I prefer slightly heavier D & G on Fenders, brings a bit more meat into the sound.