Lozz196

I preferred the US, just seemed to have better definition to the sound.

That’ll be me out then. 2 gigging amp heads & 2 practice amps.

I’ve just bought a used Zoom MS60B multi effects unit. I only bought it for tuner & compression in the hope it would be ok, but having used it with my band last night I was blown away by just how good the 160 Comp (simulation of the DB160A) was. I’ve had some pretty decent compressors but this is the first one that I’ve really liked - prob as it was preset rather than me with no clue trying to set up a stand-alone pedal! The cheaper (and apparently easier to use) Zoom B1 Four has the same compressors on it. At around £60 it’s got to be worth a try, and given it’s a multi fx pedal as well as tuner could make life easier too.

Cheers Baz, I might well get one of those, seems a lot easier to use than the MS60B, a bit like the old B3 in that respect. I’ll def be keeping the MS60B though, I’m just knocked out by how much I love that 160 compressor on it.

Back on topic for me, I tried out my newly acquired Zoom MS60B last night and am very impressed for a multi-FX unit. Ok I only used compression, and although I’d set one up I vetoed that in respect of the 160 Comp, their simulation of the much respected DB160A. Aside from bringing the level down I kept at stock settings and it was excellent. Given I only bought it for tuner & compression safe to say I’m very pleased. I’m sure there are pedal compressors that to a trained ear are better but this one just worked for me. I don’t understand compression enough to try and alter/improve the settings, which for me are just spot on.

If the Shape was selected then yes, it scoops the sound, I’ve found this works nicely with a Precision though I do have to back off on lows and boost upper mids & highs.

Yes I’ve found that, used a pedal compressor last night and was much better. Same with the drive, switched it off and greater clarity, though that could also just be down to “less bulky”. Whichever I think for my current useage it’s drive & compression off.

It’s rather ironic but Glens finger style basslines are much more audible, and have better definition to them, on Spunk.

Agree, it might be “only” a £400 sale but word of mouth/good recommendations can be worth a lot more to an outlet.

I went for doable. I prefer the 1 & 5/8” with a deep neck but the wider one is fine as long as the neck is then shallower.

That’ll do the job nicely, congrats Dave

£1500 for a Mexican Fender Precision? https://www.ebay.co.uk/itm/224638335477?hash=item344d7cf9f5:g:HDUAAOSwq95hXu1I

Best post I’ve read on here for ages, something we can all learn from.

I’ve tried many, my faves for years were Rotosound steel rounds but they just died too quickly. Moved to Warwick Red Label steel rounds, similar sound to Rotos but lasted nearly 3 times as long. When I left my punk band I didn’t need such abrasive highs so tried Elixirs out and I love them. I get the slightly used/worn in steel roundwound sound and it lasts for ages, I get nearly a year from one set. They’re also very comfortable to play so it’s a winner all round. This all relates to Precisions. For Jazzes & Stingrays I found that I prefer nickel rounds, and that Ernie Ball Super Slinky’s and Elixirs tie on this. Just wish I could get on with flats 😠

Tools for the job definitely. For me at present with what I’m doing I prefer the sound of my Ashdown amps to my Sansamp Para Driver, so that’s one FX pedal gone. I do however prefer the sound of my pedal compressor to the on-board so that’s staying, as is the tuner, so still 2 pedals. And the Para Driver is on the same board, so 3 in total. But I bought a Zoom MS60B at the weekend which has nice compression on it and a tuner so this eve I’m going to try that out. Not fussed if it doesn’t cut it as it’s excellent for home practice.

When I was using ‘Ray’s for a while it was all flat/centred on the 3eq on the bass, get my sound from the amp.

Thing to think about with punk, back then not too much choice plus for many of the bands, being young & being handed quite large sums of money to get “proper” instruments Fender, Gibson & Rickenbacker were always likely targets. I remember hearing an interview with Mick Jones of The Clash saying the one thing many of them didn’t want was a Marshall as that to them signified the “old rock” that they were trying to get away from. Probably accounts for why punk back then was quite “tinny” in its sound (on the guitars).

There’s nothing quite like it Steve, that one spot where you fear the “Back to The Future” moment may just occur. Certainly when I’ve played festivals although I could easily have done it with just monitors having that 810 behind me was very reassuring.

I think what’s great about this thread is there’s no one solution, many different approaches which suit the individuals. I know if I could guarantee a good monitor mix (and learn to like bass in monitors) I could easily gig without an amp/speakers if doing gigs like I did in my last band. I did have to do just that on a couple where the provided rig had just had enough and gave up, got through them fine, tho do prefer just guitar & vox in monitors.

Paul Simenon in that club as well

In my last band every gig went FOH so I had a Sansamp Para Driver for my sound, and whatever amp was there on the day was only to enable me to hear myself on stage (not keen on bass in monitors). Nowadays in my classic rock band the amp is very important to me. I’ve used the studios Ampeg amps with their 810s but prefer my Ashdowns. As it’s not a gigging band the amp is all for me!

I’m yet to play a Squier that I prefer to my US Fenders, but I have played Squiers that have made me question the gap in price between them. If Squiers are £400 then I’d say Mex at around £600, US at £800/£900 is more reasonable.

I’ve read a few similar things like that, seems like he’s a pretty decent guy to the “ordinary” people.

Precision Roundwounds (age not that important) Plectrum Either boost the highs or not too many lows on the amp Dig in I used to set my amp so that it was slightly too quiet/no gain or drive when playing with a regular touch, once I dug in it would be loud enough and have the breakup I wanted