Lozz196

Yep, all the basses I will be keeping are 2013-16 US Precisions, just got to make up my mind whether it’s maple or rosewood which gets the vote - and tonight at band practice is where I’ll make the decision.

Yeah considering the Norm Watt Roy version is next to it at £379 it has to be a typo, I think they’ve hit the 6 instead of the 3.

Thanks Dave, all due to hard work rather than any kind of talent at all. Even though we used to gig pretty much every weekend (sometimes both Fri & Sat) we still rehearsed every week.

It was Knock Off, Dave.

I saw the £625 on Ashdowns site the other day for the OriginAL Pedal, think this has to be a typo @Ashdown Engineering?

I always felt like that the first gig after Rebellion, back to the day job so to speak

That looks stunning, and am sure will sound so as well.

The only Class D amp I had a problem with was my 2nd Ampeg PF500, other than that no reliability issues at all and I’ve had a good many of them.

I find the necks on the 13-16 to be deeper, the 08-12s flatter feeling.

US Standards of 2013-16 are gloss. Def worth trying imo, as this range for me are the best Fender have put out.

Black

Lighter & more efficient I’d say

That’s some pretty good company there

A pan-tilt control for the guitarists speaker cab would be nice too.

And very good it is too, I eagerly anticipate where the first “shut your pie-hole” will raise its head.

I think my current fave is the Ampeg SCR-DI, it just ticks all the boxes for my needs at present. I’m also liking the Sansamp Bass Driver v2 as it can almost replicate the sound of the Ampeg. I prefer the Ampeg as the drive can be switched on and off rather than having to change settings, but I only do that at home anyway, as such for gigging the Sansamp wins out - it’s also lighter & less bulky.

Worth adding in the Tech21 Para Driver v2, it has sweepable/adjustable mids. Also the Ashdown OriginAL, another worthy contender imo.

Ashdown can fix their Class D RM amps, which as well as that they’re great sounding amps (and probably the heftiest Class D amps I’ve used) is another good reason for using them.

Nothing so dull I’m afraid, the glamorous life of a Post Office Trainer was mine, zzzzzzzzzzz

I was in a job-role where at 24hrs notice I could literally be asked to work anywhere in mainland UK, only exception was when on leave. As such I could only agree to gigs when on leave. Annoyingly for the few years I did that role there were very few times where the dreaded call would come in, so numerous gigs I (and as such the band) had to turn down we could have done. Luckily we were all mates first before being band-mates so they all understood, or at least it was never mentioned to me, and I was the last man into the band so not like I held any sway over anything.

There is a remarkable difference to sound in string gauges. Years ago I used to use Rotosound steel rounds, 50-110 and at a time when I needed some new strings only 45-105s available. It seemed that although the notes were clearer in the mix I’d lost all of my low end.

Looks like a great rig, I’ll bet it sounds just as good too.

Interesting ages there Bobby, I see this as young possibly inexperienced lead guitarist (so inevitably the one with the biggest ego) & control freak feeling possibly outclassed by an older bassist armed with greater knowledge & experience of being in bands. I say this as similar has happened to me, though it was with a bunch of guys who’d been mates for years so me & the younger guitarist would just butt heads all the time but nothing serious would come of it. Ironically though he always wanted me to play much busier basslines, it was me that wanted dumbed down.

Sounds to me primarily like the lead guitarist wants bass in the style of Cliff Williams or Adam Clayton, and any runs or lines are just going to upset him, and the others are going with his views.

Which is something that Ashdown are very good at, any problems and they’re always happy to help.