Lozz196

And let’s not forget this was 50 odd years ago. Sure drummers of today would do things differently/better, but that’s with the benefit of those 50 plus years of music to take inspiration from. Pretty much the same with Macca on bass, what The Beatles were doing back then was way ahead of the time, but judging them on todays standards & styles is pointless.

Unleash your Inner Moon

Darn, only just seen this post. Still I’m sure it will be on again, will keep my eyes open for this.

In my last band as we took all our cues from the singer (who was also the guitarist) our monitor requirements were lead vox & guitars in all monitors plus our own vocals in our own monitors. Made things quite easy for whoever was on the desk as well, rather than “a tad more attack on the upper mids on the snare” and all that which I have heard people ask for.

Agree, it was about guitars & basses til he showed his curly mop.

I’ve gone from traditional sized 410 & 210 (210 just for bigger gigs) to two lightweight 210s, which have diagonally spaced cones. Much easier to cart about, easier to place in the car, smaller footprint on stage, higher up than my 410 so easier to hear, all round makes life easier. Not overly expensive either, though they can now be had for much less than I paid, grr.

IEMs sound like a solution, but short term get someone to video one of your gigs and then get him to watch it. Then explain that everyone in the audience saw the same and was thinking what a Pratt.

Mulletmungus!! I rather like the first song, the singers voice and singing style reminds me a little of The Housemartins

I think the Super12 is either more middy/less flat or the Super Twin is more bassy/less flat. Which it is I have no idea, just my impressions after hearing them both (and having had a Super12).

And let’s not forget he did get paid at the time, his $1 is clearly in the shot.

A Yamaha would certainly be good as a first “proper” bass, I speak from experience, I went from cheap starter instruments to a Yamaha BB1100s. That bass did hundreds of gigs, and my first experience in recording studios.

Not sure exactly how it works but in another thread there are some happy purchasers of goods from the EU at much better prices than in the UK, and where they’ve not had to pay any extra charges. Bought from Musik Productiv I believe.

Pete Shelley of The Buzzcocks used to play pretty cheap Epiphones. I’m sure he was in a position to afford/play more expensive guitars but that’s what he used. May be down to a number of factors of course but for playing live you surely have to like the guitar you’ve chosen.

I’m sure he gets recognised all the time from that shot…..

I can’t think of much, if anything that can compete with those weights. Add in the power ratings and I’d say unless you find the sound truly hideous the gear selected looks to be the winner.

Elvis 1990!

I’m sure I read somewhere that on a drumbeat where the hi-hat is hit 4 times with the snare hit on the 4th Charlie didn’t hit the hi-hat on the 4th so as to make the snare sound better and more precise. Not seen/heard many drummers do this.

Beatlestone? The Stonebeatles?

They did if it was a jazz band.

That’s strange, Ashdown usually have their controls so you have to fully turn them to get full out of them. How loud was it, as my RM500 through one of those cabs was at gig volumes (for a punk band) at 2o’clock on Gain and 9o’clock on Volume. If you were having to go to halfway on volume with gain on full through an ABM410 I’d think there might be something wrong with the amp - my ears would have bled with mine at those settings.

Yeah just saw that, there’s also a statement been put out so sadly looks like it’s true

Yes that’s it, the actual mids are at 660. Although I love the RM amps (make that Ashdown gear in total) I never really got why the controls weren’t all labelled with the frequency or labelled bass, low-mid, mid, hi-mid, treble. Just seems a bit of a mid-match. Still, they sound great, that’s what counts.

That’s a good point tegs, I’ve just spent the equivalent of 100 pints of beer on this Epi and it’s great. When I started out an instrument costing the equivalent of 100 pints of beer was not quite so great - my Kay EB-O copy in fact cost more than that, at £50 in 1980 prob equivalent to about 120 pints.