Lozz196

The newer ones address this quite nicely, both my ABM600 & RM500 have plenty of highs, but I do know what you mean, I had an old ABM500 and that wasn`t all that sharp on top-end.

I use the same gauge - when I can get them - but stainless steel. I think they’re great, a better balance in sound than 45-105s imo. 45-100 my preferred gauge, if not 50-105, sadly neither seem to be around at present.

Mine too, sound great and I get nearly a years use from them

As you’re looking at doing bigger stages I’d look at one of the 212 models, Super Twin or if you want a tweeter Big Twin 2. If a Super12 or Super12T comes up on here I’d grab that.

I’ve eyed these for a while, being an Ashdown fanboy, only thing that has stopped me is having too many Precisions already.

Well as transparent is what you’re after Barefaced would be a good call. They’re incredibly powerful and will take whatever is thrown at them, plus lightweight too. There are usually some up for grabs on here. I’d avoid the 1x10, 2x10 & 4x10 though, these are their vintage range and are voiced like old school cabs.

I wouldn’t put the Tonehammer as a transparent amp, although it is a very good amp. For what’s required I’d suggest an Ashdown RM500 as there’s an eq on/off selector, possibly the nearest to what you want to do, and is in fact what I used to do, just plug bass to pedalboard into amp, all eq bypassed. Either DI from what’s on the pedalboard or from the amp.

He must have to do weight training on his fingers for those

Does what it says on the tin!

And you’ll probably find that you love them, I prefer slightly heavier D & G on Fenders, brings a bit more meat into the sound.

Forget their thoughts, if you enjoy it stick around. If you’re not enjoying it, coupled with their thoughts I’d say time to go.

Without wanting to be too eager to promote my very own sale of a Gator G-Bus, I think it would do the job nicely.

The newer ones such as the ABM600 and the RM range I find are much more flexible than their earlier amps.

I had a similar issue on an RM112, but only on really low notes, turned out to be the tweeter of all things. Ashdown sorted it easily enough for me.

Yeo there’s a Japanese Fender Jazz up for sale on here that has no pickguard, looks great

I had this with the second PF500 I had, happened on the first time I used it (connected to a Barefaced Compact & Midget so not an issue re the cabs). That was my journey with the PF range over, shame really as the first one I had was great, no issues at all.

Great info re compression there @Boodang never really got to grips with how it all works, that’s very helpful

Definitely, in my last 3 bands my tone has been quite different, chosen to suit both the music style and fit with the other instruments.

I had exactly the same happen with my second Ampeg PF500, on the first time I used it, which is why it got returned pdq and why I no longer have faith in the PF range in general. Shame as the first one I had was excellent, great tone, volume, no issues at all.

Fishy looking eq…….

I’m just wondering if a compressor that knocks a bit off the top end might be the solution. I’m not too clued up on how they work but think Attack and Release times will have a bearing on this too - pick is a very quick attack compared to fingers.

He did but all that was part of the hype, given that Steve Jones liked Elvis and Journey. Instead of fixing the problem and having a band that could play basically but decently he went for shock with poor old Sidney.

I’m just wondering if a compressor that knocks a bit off the top end might be the solution. I’m not too clued up on how they work but think Attack and Release times will have a bearing on this too - pick is a very quick attack compared to fingers.

Def, on Sp*nk the fluid inventive basslines really changed the songs. It may be because NMTB is how I got to know them so they are my fave versions, but it is nice to hear the earlier stuff with Glens playing.