Lozz196

Agree, for some reason Fender & Markbass seem to work well together and produce a very reassuring bass sound.

And the decision is… Maple Identical basses, both set up the same, same strings, the maple bass just fitted in with the sound of the band better, with the rosewood being a lot deeper. We were all quite surprised at the difference. So it’s 3 x US 2013-16 Precisions in black/black/maple, fave for home use, and one for each band.

A few years back on a line check the sound man said he had the monitors on a “festival setting”. When we started playing it the volume through the monitors was so loud it was unbelievable, so we instantly stopped and asked for everything apart from vocals to be taken out. The volume imo would have caused some hearing damage. Luckily he kept to our needs and didn’t bump anything. I think with your case @lozkerrit’s a case of asking over the mic for everything to be lowered, and if it isn’t stop playing. You’re not overthinking it at all, once your hearing is damaged it stays that way.

I used one in an indie type band with drums, 2 basses, 3 guitars and keyboards, was fine, and we rarely went through a big FOH PA, usually just vocals.

Def, the first time I heard John Deacons isolated bass I was quite shocked.

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.