Lozz196

Yeah, the original amp he had from what I’ve read only had bass & treble so he just put both on full. Coupled with his (now) famous cab with blown speakers it created that magnificent sound which in my view has been refined and shaped but sadly never bettered.

Yeah but what if they mass produced 10,000 at $3500 a piece, that was more where I was heading. They could even do it like Gibson did with the Slash Les Paul, have a tiered range and keep the original 26 high priced ones but introduce the mass produced/lower priced ones as well. Would make a lot of people happy and generate a lot of coin in the bank.

Seven grand is a bit much. I’m sure it’s a great bass, and also sure the rarity bumps up the price but I think it’s a tad shortsighted. Mass produce them and add a few (maybe five) hundred extra on top and watch the money come through the doors.

Really hoping to pick up a couple of the new Ashdown PRO NEO ABM210s. If no Black Friday deals I’ll wait til Xmas/New Year see if they turn up in sales then.

I did wonder how he’d reached that conclusion, did he conduct a worldwide poll?

Def, Andy Rourkes basslines were very melodic, and he had a great sound/tone as well.

The standby light stays on when the amp is switched off? Wow, never seen that before.

Must admit after reading that was very surprised about his praise/affiliation with far right stuff, not what I expected, and can understand any record company wanting to remove themselves from that.

I think I’ve used it once, on In The City by The Jam - as I read somewhere that Bruce Foxton does similar.

Agree, and even if the Pfizer one isn’t as easy to administer, securing a vaccine that could potentially save thousands of lives, plus the economical benefits we could get from things going back to normal I don’t see as a particularly bad thing.

That’s an eye/ear opener, as the RM is a pretty full sounding amp.

As long as we get a working vaccine I’m not that bothered which, tho if given the choice of which to administer from a logistical point of view Moderna would be my choice.

Well I’ve decided that these are my future. I’ve recently got an ABM600 again and will pair it with two of the 210s. Just waiting on Black Friday or Xmas Sales to see if I can nab a bargain.

Seeing that at many events Ashdown are the provided rigs (and that I’m also an Ashdown fanboi) I’d put the Ashdown ABM600 on that list.

Cant say which EVO version I’ve used but I’ve used a lot of the Ashdown ABM combos over the years and all have been plenty loud enough - we were a street punk band so not quiet. Never had to push them too far for on stage volume, neither me or the guitarist were keen on bass in the monitors so whichever amp I was using needed to be able to cover the stage volume on its own.

I’ve used one of those 4x8 Ashdowns and it sounded great. Versatile too, as the band whose cab it was had a fairly different sound to mine but it dealt with both very well.

The punk police will probably exile me for this, but Guns N Roses version of Down on The Farm was far superior to the UK Subs original.

On my Fenders/Squiers I always put either an A-String Retainer (US Fenders) or a 3-way Hipshot (Mex Fenders/Squiers) as sometimes the A-string can rattle due to the gradual angle from nut to tuning peg. Costs less than £20, well worth it for peace of mind.

Strangely enough I found it too deep, a real handful. Although regular Jazz width the depth meant that it was no faster than my Precisions and gave me achy fingers. Shame it sounded great with its Custom Shop 62 pickups, so have just ordered a set for one of my Professionals .

Ashdown are on here, and very helpful @Ashdown Engineering

Best, two US Fender Professional Jazz basses. Worst, a US Fender Standard Jazz bass. Was a great sounding bass but I found the depth of the neck uncomfortable to play.

My old bands record company is in Germany and we did a lot of gigging there, so I suppose merch wise the record company will field everything from their end, but for other countries, well it’s a lot more to contend with now.