Lozz196

I recently sold my Ashdown ABM600, the best amp I’ve ever had. At 13kg it wasn’t too hard to cart about in comparison to the big valve amps but my ageing frame protests whenever I carry anything, so I listened to what my body was telling me and kept my Ashdown RM500. If I ever join a gigging band again my RM gear will be sufficient, it sounds great and unless on a really big stage there’s not that much difference to the ABM.

Yup

Nice, I’ve heard both in action and quite typically for me the Ashdown wins it.

Is it the Marshall VBA head & two VBC412 cabs, or his Ashdown rig?

That’s it for me, whilst it’s not the same at least people will still be able to watch their fave bands. On a Fri night after a hard weeks work, settle down with a four (or eight) pack in front of the laptop and see the bands put on a show. For the punk scene there are a few really good promoter and I really hope they take this on. There are venues that could easily put the events on safely for the bands and camera/lighting/sound crews. Keep some money coming in through their doors, bands get increased online sales, keep the scene going.

Imo a great deal of the Ampeg sound is their cabs. I’ve always found that in isolation the slight muddiness of the Ampeg sound is pretty uninspiring, but put in with the rest of the band it comes alive.

Hope you’ll be putting a couple of tracks from this project up on here Nik, really interested to here them.

Yes since opening of non essential retail, pubs & restaurants an increase was always likely imo, plus with events as described in another thread where no distancing was either practiced or controlled it doesn’t bode well for the giggers amongst us. I reckon performers are really going to have to look at online shows via promoters, it may not be what is wanted but it’s a way of gigs going ahead. Just wonder how it would be as a performer playing to a couple of cameras and trying to keep the energy of a live gig going.

I do, for what I was doing in my last band the Ashdown could get the sound I wanted on its own (even though I always used my Para Driver with it) whereas with the Ampeg I wouldn’t have had the choice, I would have needed the Para Driver.

I had a PF500 for a while and loved it, got a great recorded tone from it DI’d as well.

First thing I would ask on this is are you wanting to keep the core tone of the bass, or add in flavour. If the former I’d look at MXR, be it M80 or M81, from my experience their preamp DIs retain their core sound of the bass. If wanting to add flavour I’d look at Tech21 Sansamp, be it Bass Driver, Para Driver or VTDI, all are great.

I have a Wenger rucksack and laptop case for my leads & pedals. Not cheap but they have plenty of compartments so instead of all lumped in together I can put amp leads in one section, instrument leads/pedals in another, and in the laptop case, amp in another. Really tough durable material so provides good protection.

From what I’ve read later more recent models are quite light, but go back a few years and you’re invariably looking at 9lbs plus.

Looks great, the ones at LBGS were as said, silver & shiny, held 3 basses, and I really liked the look of them. For touring I’d think they would be amazing, instead of 2 or 3 hard cases you have one, on wheels, which doubles as your on-stage stand.

Or “this is how much appreciation you’ll get whilst everyone thinks Weller is a genius”.

Yes, and the thing is you’ve established what they’re doing, why haven’t the authorities. We’re not talking about being spoilsports and ruining peoples fun, we’re talking lives.

Sad but true, but it’s also based upon respect for authority and discipline, to which there’s pretty much none around nowadays as nothing will be done to either the participants or organisers, so they “do what they wanna”. Put that many motorists together however....,

I think the thing with effects is that many over-use them, to the detriment of the instrument being played. I watched a vid on YouTube about Mick Mars of Motley Crue and the amount of effects he used on his core tone was pretty substantial, but each when analysed seemed to add only a minimal difference. However when all added together the tone was much bigger than the guitar on its own, but it was difficult to identify what was doing what. Now certainly in MMs case he sounded much better with all the effects layering, but if any one of those effects had been more prominent it may well have ruined his sound. I suppose what I’m trying to say is maybe less is more, and it’s the over-use that people like Dave and myself find we aren’t that keen on.

@dave74200 you are not alone, I often find that when I hear a bassists tone that I really like it’s usually bass/amp, possibly a compressor but that’s it. Similarly I often find that said tone that I like will usually sound a bit meh and insipid on its own, but work so well in the mix.

Fender Rumble, Ashdown Perfect or Tourbus, Ampeg BA, all great little amps.

I’d go for the Player, based on having had one and thought it really was a step up from previous MIMs.

I wouldn’t say so as I had the interest in music already, knew what I wanted to play and it wasn’t what was being taught in the general classroom. I took bass lessons to find out what the notes were, then quit and taught myself via a Never Mind The Bollocks (by The Sex Pistols) song book.

I always state on Gumtree no PayPal, no bank transfer, no postage, and that enquiries containing the aforementioned will not be responded to. And should I receive an equity containing any of those I stock to my word.