Lozz196

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.

I always thought that the end of Way on Down by Elvis Presley was pretty much there.

A band I know drove through Switzerland - didn’t play there mind - but were still stopped and had to pay some form of taxation (I think it was to do with their merch). To any bands intending on playing Europe, irrespective of political thoughts/leanings it’s best to do your homework and get it right, otherwise it will cost you.

Nice

I never found the tweeter a problem on the CMD121P, tho when I also connected the NY121 I did set the tweeter to the off position on that.

Not sure if he made his political leanings clear or not in that............

Agree, I went and bought another one yesterday, I just missed my ABM600 too much. It has so much flexibility and yes, that 100hz slider has much more control over the bottom end. Similarly I find that the 5Khz slider has more effect on the top end than the actual treble knob. Just waiting for Black Friday or Xmas sales for the Neo cabs to come down a bit, will be nice to have an ABM set up that I can carry easily.

I’ve found recently that learning material for my new band that I normally wouldn’t have bothered with is actually giving me great pleasure/enjoyment. For a start it’s harder, so my playing is improving, but it’s also helping me to appreciate songs that I previously thought were “alright” whereas I now have a greater respect for them and those that wrote and performed them.