Lozz196

That’s a really nice looking bass, and I love the sentimental aspect to it.

When I was in my band I rarely went to gigs as a punter as I was at them pretty much every weekend gigging, but now I’m not in my band anymore restrictions permitting I’ll go to a few when they’re back on and it will more than likely be on my own. I know so many people on the punk scene now it will only be on the journey there & back that I’ll be on my own anyway.

I did many years ago, and given that I had that bass & string set up from 87 to 91 I suppose I must have liked it.

The Interrupters are great, their acoustic version of Be My Baby by The Ronnettes is amazing.

I’m not currently in a gigging band, have 2 Precisions and a Jazz. One of the Precisions I won’t take out of the house, not an old valuable bass, just sentimental value. So for my current non-gigging band I can use the other Precision or the Jazz, and in reality I’m a Precision player through and through so if I get in a gigging band I’ll get a Squier Precision as a backup. Just got to offload 3 surplus basses now.

For the budget light is unlikely, so I’d look for a 1x15 Trace combo, plenty powerful enough and space saving too.

Our first rehearsal post Lockdown the Third is on 29 April, really looking forward to it.

I’ve been to loads of gigs where the over-bearing kick drum that was louder than everything else including the vocals simply made the whole gig worthwhile.... NOT!!!!

From experience of using both brands I’d expect the TE to have better definition, plus being a 410 there being a lot more presence on the overall sound.

Airbourne? Loved them when they emerged, a higher intensity type AC/DC.

I know I’m gonna regret selling that one, enjoy it Neil, it’s a lovely instrument

Keeping it sort of in the family, why not look at Ashdown cabs to match with the head? They do an ABM PRO NEO range which are light and sound great.

Yeah it was a real shame, my sound was only driven when hit hard, and quite clear & defined. By adding in pre-eq he essentially Motowned the bass for that gig, making it much warmer and more traditional Precision like, whereas Duff McKagan would be a better area to think of for what I did.

I remember playing a gig where the sound engineer wanted to mix a clean pre-eq signal with my Sansamp (usually just Sansamp DI’d), explaining he wanted to keep the lows clean and only the highs driven. Many people who followed the band came up to me afterwards and asked me what was wrong with the bass that night, I didn’t have to say anything, I just pointed. With that one decision he ruined the sound of the band that night - as our fans pointed out. Fans who had paid £18 I should add.

Love that, when you have so much history with an instrument it’s that which makes it irreplaceable, not the cash value, name on the headstock of year of manufacture.

I found that the core tone of TC & Markbass to be quite similar, so as she liked the TC amp but there aren’t enough funds to cover a new one then I’d check the Marcus 500. My personal recommendation would be the Ashdown RM500 though.

Def, when we did it it was Johnny Rod’s version I tried to get near. Not sure I managed it all that well, much more a case of bluff & hope.

Similar reasons as to why I switched from Barefaced to Ashdown cabs. In my past bands the Barefaced had been exceptional but in the 3 piece punk band I needed that depth and Ashdown/Ampeg were the ones I liked best, Ashdown winning out on many other factors.

I know some songs that I played incorrectly, some of the time it was due to the line up of the band requiring me to do something different, sometimes down to me not having an earthly on how to work out the actual line (The Real Me by The Who springs to mind here).

For gigging in my last band I always went DI from my Sansamp Para Driver. As it was always gear shares or provided rigs the only way to get a consistent sound to FOH was to bypass whatever amp or cab I was using, leaving that really for on stage sound which wasn’t that important to me. That said on the rare times I used my own full rig or an Ampeg SVT set up I did enjoy it more.

Same, I find on my set up that the DI gives better clarity & presence but the cab adds in greater depth.

Yes, I can only imagine how good it must be to have a CTM, but the back sadly isn’t in agreement. The difference on a big stage between the RM to the ABM is pretty apparent, wonder if it’s the same sort of difference again from the ABM to CTM.

I know what you mean, at rehearsals I always used my RM500 as there was no real difference to my ABM600, however on a proper big stage the ABM came into its own delivering a solid powerful sound.

Now I’m in a classic rock band doing 70s style rock my tone is a pretty generic Fender type tone, one that supports the songs rather than tries to cut through the mix. Hard placed to notice it until it’s not there. I tend to pick the tone to the band, as in my last band (punk) it was a cross between Duff McKagan, JJ Burrell & Lemmy, I’m not a big believer in “that’s my tone irrespective of what band/genre”.