Lozz196

Well I’ve had the 210/410 ABM set up and it was great, bags of power and sounded really good. Of course each cab will get the same amount of power but as long as you use your ears (and have the 210 on top) you’d hear if the 210 was being overloaded, though I’d doubt that would happen, those cabs take some serious power. I’ve had other brands 210/115 set ups and all have sounded good. The theory is always use two of the same cab but I’ve never had a problem mixing speaker sizes yet. Having different speaker sizes means that in all likelihood your sound would need re-eqing when pairing the two as opposed to using each individually. I put castors on my 410 and used that all the time, only dragging out the 210 for the bigger gigs. Once the cab had the castors it was so easy to move about, the only lifting was out of the car and up/down stairs. Much easier than carrying the 210 everywhere.

Yep, great songs made even greater by JJ

“They wouldn’t know a string quartet from a string vest” Sid Vicious

Great pickups, I’m sure you’ll be pleased with them, especially on such a great bass

Difficult, could be Rod from a demo or could be the OP…..

Sad day, but unless playing very big stages the RM amps can sound very much like the ABMs. The difference only becomes apparent when on those big stages and the weight/heft of the sound of the ABM shows up. In regular pub type venues the RM more than fills them out.

It’s funny but at the last practice where I used my ABM600 I had both the compressor on the amp and my Seymour Duncan Studio compressor pedal on. It was by accident but I found that I preferred it like that than with either one on its own. I’m sure I could get the same results with tinkering with the settings on the Seymour Duncan though, it’s a very flexible pedal.

IMO that’s the best single to come out of punk @Frank Blank

For me it’s one that as DiMarco says, reacts to touch and how you play. I’ve found all the Tech21 pedals to be good at this but my Para Driver to be the best. It can be set so that if you play with a regular touch you wouldn’t know there was any drive on there, but dig in and you get very nice breakup. Of course me lacking any degree of subtlety just used to play like that all the time which was great in a 3 piece as it helped fill the sound out very well.

Sadly the Rebellion Festival was cancelled again this year. Although falling after the intended and now rescheduled freedom day I suppose 10,000+ indoors over 4 days just wouldn’t have been possible, let alone having 250 bands playing as well. Fingers crossed for next year.

We have a mate we call Chewie. It’s not cos he looks like a Wookie, but that he sounds like one when singing.

I had one for a while and every time I DI’d with it the sound engineers made a point of seeking me out after the gig to say how good they thought the bass had sounded. It had to be the pedal as none did before, or since……..

Great band, and a good bunch of chaps too.

Comsat Angels Independence Day is a quality song, agree the band really should have gone further

Up Around The Bend by Hanoi Rocks was a big tune of my youth

My old band The Shout used to gig regularly with both of those. I was usually hammered so can’t really remember what either were like.

Best - Sex Pistols at Finsbury Park 1996, something I never thought would happen, they’d been my fave band since 1977 so the expectations were hopeful that they’d be good - and they weren’t, they were superb. Worst - Siouxsie & The Banshees, Hammersmith Odeon 1985/6. She’d broken her leg so performed sat in a chair and the rest of the band just stood there. Totally uninspiring so went to the pub instead.

A guitarist and old friend of mine joined the band I was in. The others voted him in. He didn’t have an amp or transport, and his single coil feedback Strat was no good for our music, so we had to source everything for him. Which would have been fine… We wanted a great lead player, and he was that, but he just couldn’t remember where the solos were in each song. They were after the second chorus. In every song. No Carol Vordernans required to count to two. Wrong it seemed. After a while I got fed up so said I wouldn’t be in the band with him anymore. So they sacked him. Didn’t bother me which way they went to be honest, would have been equally happy if they’d stuck with him.

Seymour Duncan Hot Stack or Dimarzio Model J might be a solution. Both humbucking so less top end than regular Jazz pups.

And given the “I want it all now, but most of all I want more than those I know” mantra where everyone has to have better than everyone else, and be able to show it off I’d doubt many would choose this anyway.

Yep, just because drive CAN go all the way to 10 doesn’t mean some (many?) of us aren’t interested in hearing it at 2 or 3, just adding a tad of grit into the tone. Gives me a far better idea of if a pedal is suitable for me.

The Ashdown Studio range looks worth checking out but I think given the situation with the Rumble before I’d reckon that’s where to start, I’m yet to read of anyone finding the 500 watt combo not powerful enough.

Yep, a 45min set, even from my fave bands is generally enough for me. If they’ve got an hours worth of hits then fair play I can last that but anything more and my attention span wanes. I prefer to hear new songs on recordings rather than live so debuting half of the new album at a gig doesn’t usually work for me (and indeed it’s something I always tried to stop my band from doing).

As far as I know the US Geddy Lee has a fairly chunky neck. And is reputed to be one of the best Jazzes around as well.

Does make me wonder how much JJ would have been appreciated if he’d not played in a punk band, he has some serious chops (both bass and karate).