Lozz196

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.

I went to see them shortly before COVID & lockdowns. Considering I didn’t know any of their material (went with mates who have liked them for years) I really enjoyed it.

When I was using them in the live world I used to bypass the eq on the amps and use my Sansamp Para Driver for the eq, and I always kept the same settings so FOH got what I wanted. I noticed it a few times, the volume was fine but the RM just didn’t sound as big. But it was still more than up to the job, 100% happy stage sound for me is a nice to have, whether or not I can hear myself is a definite (not keen on bass in monitors) and the RM never failed on that point.

I have a Class A/B Ashdown ABM600 and a Class D Ashdown RM500. In rehearsal rooms or on small stages I don’t really notice any difference, but once you get onto the much bigger stages there’s a greater depth to the sound of the ABM. So in reality I only actually need the RM, but as my cabs are the ABM Pro Neos it makes sense to my OCD to have a matching ABM amp.

Yep, the ideal compromise imo.

Def this

Yes, sounds great

I would have recommended you as well Gary, but as the OP isn’t familiar with the area I kept to the local option. Hope that’s me back on the Christmas Card List 🤣

I bought a cracking bass from Vince - black/maple Precision of course. Picked it up from him in London and we had a cuppa and a good chat about all things bass, which is of course mandatory. Great comms throughout the transaction and a nice guy as well, cheers Vince I love this bass.

Good call methinks. I’m sadly too creamcrackered to carry these cabs about anymore but for me the EVO-IV range of cabs are just amazing.

TJC Guitars Terry Chapman is in Stevenage and is a good chap. https://www.tjcguitars.com

Depends on the room/stage really. In general at noon but on a bigger stage to get the fuller sound I’d bump it to max.

2 - Distorted sounds are perceived as louder. Definitely, I usually have the valve drive on my ABM600 on but in our rehearsal rooms which have 810s I have to take it all the way off otherwise the bass is overpowering. It just fills out and swallows up the whole room.

They were in top form when I saw them in March

I’m just going through a bit of a turn re basses. I’ve decided that as the 2013-16 US Standard Precisions are my fave I’m buying up a good few, and then will decide which I want to go with, maple or rosewood. I’ll then sell the others. My heart says maple, my head says rosewood but neither will make the decision, that’s going to my ears, and only when with the band, cos that’s the most important part.

I used one on a tour, in a punk/Oi band, as did all the other similar bands on the tour, sounded great and didn’t have to push my amp at all, irrespective of stage size (and we didnt like bass in the monitors so the cab covered the whole of the stage sound).

I think it’s safe to say that Cici quite likes that bass! Great review and nice to see such an enthusiastic viewpoint of an instrument.

Indeed, and although I’ve not submitted any yet (as don’t have any) I’m only guilty of leather trousers.

I really liked the compression on my old PF500, it just seemed to “work” if that makes any sense, just set it to 9 o’clock and left it alone from then on. I’m sure the Cali will be far superior to any amps on board compression though, but I suppose it depends on how much control is needed.