Lozz196

Agree, just looks superb

I’ve had three Stingrays, only noticed a weaker G on one, and it was only when I strung with nickel strings. It was fine with steels and flats, just slightly weaker when the nickels were on it.

Just seen that, one of those lines that when seen played looks so much less complicated than it sounds like it would be to play. I think I’m going to have a go at that. And back on topic, yes good playing, sone nice material listed.

Indeed, I met him a few years back when we were both on the same show and he seemed a very decent chap.

Sometimes, and it might seem heresy saying this, but especially in a 2 guitar band having a not particularly loud bass can work quite well. I think AC/DC would have suffered had Cliff Williams been louder in the mix (am not knocking Cliff here btw, I think his bass is great). Not a particular Metallica fan so can’t comment too much on their material.

Muziker.co.uk Based in Slovakia

I’ve changed amps many times in the past due to just wanting a change, however in recent years I’ve only changed for specific reasons/identified improvements. Nothing wrong with a change now & then, keeps us feeling fresh.

I’d say keep both, I also have the Tech21 Para Driver, yes it’s similar to the VTDI but for me it’s slightly harsher and more modern, much better for the punk that I was doing, whereas the VTDI suits the classic 70s rock better. In the mix would anyone apart from me tell, probably not but I’m def keeping both.

I wouldn’t want an instrument where the serial number doesn’t tally up with the colour coding as moving it on if necessary may be more difficult as a result. It looks to me that PMT should sort this properly but their on-line operation does seem to be a little unorganised.

Imo it’s the right tone - and level in the mix - for the song. Really fits it well.

Lots of stuff in there I don’t know, but given the pedigree of those players I doubt I could disagree much.

I’ve recently bought a Tech21 VTDI and it has that spongey valvey feel to the sound. It really captures it well and I can appreciate what the valve amp users on this thread mean, the sound and how it reacts to playing dynamics is a fair bit different, and I suppose depending on viewpoint more rewarding.

Bought a cracking Tech21 VTDI from Luke. Good comms, item arrived very well packaged indeed, recommended.

Recently got myself a Tech21 VTDI again. I’d forgotten just how good this pedal is, and how unlike pretty much any other I’ve tried it has that “spongey” valve feel to the notes when the drive is bumped up a bit. For the classic rock that I’m doing at present it really is ideal, select an SVT style sound, Jazz bass on neck pickup only and I’m back in the 70s. No flares or kipper ties were harmed writing this post.

I can’t think of anything, other than to say congratulations, Stew.

Dunlop Tortex Wedge for me, started with 1.14mm, went to 1mm, now on 0.88mm as am trying to temper my heavy hitting style. I’d like to use the 0.73mm but although I find them the most comfortable to use there just isn’t the attack with them that I like. Ah well, who knows, maybe I’ll get there.

I had an Ashdown ABM600 and it was a good meeting in the middle of valve and Class D amps. 13kg, pre-amp valve, into Class A, 9 band eq, on board compression. It had that extra feel to the sound that just isn’t there on many of the Class D amps, and was portable enough to not make life difficult. Best amp I ever owned, and if I was still in a gigging band I wouldn’t have moved it on.

Our drummer mics his bass drum with some sort of gear, no idea what though. He doesn’t do it to make it louder, but so that he can hear it better as the speaker is like a monitor in how he places it. He says it helps his playing, and given that he’s one of the tightest drummers I’ve ever been in a band with I’d say he’s right.

It’s funny, and probably more an indication of my (lack of) understanding of compressors but I’ve always preferred single control compressors on amps to separate dedicated compressors.

The one that comes in US case-candy for adjusting the saddle heights also fits these on US models.

Just before the world turned upside down I left my originals punk band and started jamming with some old mates, doing classic rock. Fast forward to now and we’ve started rehearsing again - no singer so no raised voices or greater spread of air from our lungs etc. All going great, really good to be playing again and I’ve both learned some great songs and become a fair bit better on the bass, and finally found a band that I can use a Jazz bass in (this for some reason makes me think I’ve progressed).

I have in the past just used a preamp pedal with the band getting the bass from the monitors. So long as the levels are worked on properly at soundcheck then it’s fine, it’s just a problem if soundcheck isn’t long enough (or you don’t get one) or if the sound person is less than co-operative - have seen this, with point blank refusal to adjust “his” on stage mix.

Nail/head for me, Jack.

Yes the first buyer was me, but I found the neck much chunkier thank my US Professional Jazz so my bad fortune is your good fortune. I preferred the sound of the CS pickups in the 2015 to the V-Mods in my Professional but time will tell if I replace them, at present I don’t think I will.

Oh and my pet hate, from a promoter or stage manager: “The headliners won’t move their drums so you’ll have to set up around them.“ This makes me want to urinate or defecate over said immovable kit.