Lozz196

Although I prefer to have an amp/speakers behind me pumping out the volume - I just love the feel of a big rig pushing it out - if I could guarantee monitoring & sound checks would be up to it I’d happily gig amp-less. I have done a few times when the provided rig has craped out during the day and it didn’t affect me at all, just got on with it. I’d want the monitors more for the rest of the band than myself anyway.

This is like when Man Utd changed strips at half-time

If they played smaller venues I’d love to see them but nearest to me - Wembley Arena - is really not my fave.

My thoughts too

I found this a bit with my old BB1100s, was a great bass, versatile and reliable but felt a bit sterile on the sound.

Probably Bruce Foxton of The Jam

I used to use these, I had a very twangy/driven new string sound and would get around 2 months use (8 rehearsals & 8 gigs) from a set.

I have Elixir steel rounds on my Precisions & Jazz, currently have Ernie Ball Coated rounds on my Stingray (but they died really quickly so will be getting Elixirs too). Flats-wise I’ve Dunlops on a Precision.

The Keeley Bass Compressor is a nice easy to use pedal.

I think I’d look at getting one of the Fender Downtown Express pedals for this.

Bros?

One of my faves

There’s plenty of stuff out there on the punk/Oi scene

In my last band I used a Tech21 Para Driver into my Ashdown amps but with the eq on those in the off position. Not exactly the same as a power amp but doing pretty much the same. Worked well.

The Marshall DBS range was great - albeit massively heavy cabs. Not sure why it never really took off.

Jumped ship to Fender F-Grip 346. 1.5mm thick so get a better attack sound with a softer touch, plus the sound they generate is quite “scoopy” so suits me well. And they’re triangular so still 3 picks for the price of one. Plus the indentation of the F makes for a good grip. And the red/tort makes them easier to see if dropped on stage.

I never understood why Marshall bought them, didn’t seem to do much with them, hopefully G4M will resurrect them.

Vintera 70s P would be great!

The Mex Classic 50s has a real aggressive snarl, def worth checking out (tho neck width not to everyone’s taste)

Looks great, but I bet it sounds even greater than it looks.

I’ve heard many many many guitars & amps over the years, as I’m sure we all have. Imo difficult to beat a Gibson & Marshall, which isn’t exactly new.

I like the “split scratchplate” idea@thodrik, not seen that before but does make accessing the electrics a fair bit easier I would think. Kudos to the previous owner for coming up with that.

1 Doesn’t speed up 2 Doesn’t slow down 3 Doesn’t do rolls/hit cymbals during the parts of the songs that are the “singalong” parts, as these get in the way of the vocal melodies

From the chats I’ve had with drummers I’ve been in bands with they’ve just wanted someone who didn’t get in their way of holding the timing down.

An Ashdown ABM 210 will easily be the happy medium between your two previous rigs, providing you`re ok with the weight they`re a good choice.