Lozz196

It really sounds like it adds a bit of sparkle to the sound. Not tone changing exactly but just a bit of shimmer and life added in.

I use it, and then add in higher mids for clarity. In my band we’ve a humbucking guitar and keys so I keep out of their domain this way.

Tonehendge, love it!

I’m currently using either 45-100 or 50-105. Makes sense to me on a Precision having lighter E&A, heavier D&G, seem to get a better balance across the strings.

Some combinations just work like that, Fender Precisions & Ampegs/Ashdowns also spring to mind.

The biggest gig I’ve done was about 10,000 at an outdoor festival. Was through an SVT/810, that coupled with the monitoring was plenty. At the Rebellion Festival, where the crowd capacity is 2500-3000 again its SVT/810. Given there’s no actual soundchecking we always steered clear of too much bass in the monitors (gtr & vox more important to us) so the SVT took the stage volume and again it was plenty. Only needs to be as loud as the drums.

It’s amazing how a bit of kit that doesn’t exactly blow us away isolated can work so well in the mix, isn’t it? Glad to hear the trusty RM112 worked well.

I’ve played a couple and really liked them, though it was a bit more difficult getting used to the second one as it had the covers on over the pickups.

I’d be looking at borrowing a couple of Ashdown ABM410 cabs to go with my ABM600 head.

Now Gone For some reason my previous thread on this has been locked, so here it is again: I’ve got 3 boxes and a good supply of bubble wrap that is going spare. Willing to meet halfway to do a handover, up to an hours drive.

The fuzz demo reminds me of the Rhubarb & Custard theme tune sound.

You can’t join a Jam tribute band.

Same opinion here, ABM600, fantastic amps, powerful, versatile, not too heavy and that great customer service from a UK based company (not that I’m pro UK companies but it does make it a lot easier to take it there).

Toneriders, def worth the money, very similar to the Fender Custom Shop 62 (well the Precision ones are, not sure re the Jazz).

Well if the 74s are anything like the aftermarket Custom Shop 74s then I’d get those, they were really nice.

In my last band we agreed that all of the songs were written by all of us, irrespective of how much or how little input there was from each of us. The end result of the songs was only because of our individual inputs so it was decided that we all wrote them. As our singer put it, if we had a song that made us 10 million quid a third of that should be enough, and if all of our songs amounted to nothing then a third of that equally should be enough.

I’d take that as a backhanded compliment, a drummer will always (unless totally deaf or ridiculously loud) notice a bassist that they can’t play with. If they don’t notice you you’re doing something right, unless it not having plugged the amp in of course.

Don’t take liquid courage before the gig. You will feel better if you do but your playing won’t benefit from it.

Led Zep, Rainbow, Kansas, Dio, that sort of stuff Russ. Plenty of timing changes and fiddly little riffs/runs. You can certainly tell they were on drugs when they wrote that material. It’s made me a much better musician in the year & a bit I’ve been doing it too, wouldn’t have thought I was capable of stuff like that a few years back.

I think I’ve been lucky both with my last band and my current band. The current band is a classic rock covers band with no vocals. It’s not a gigging band, just mates getting together once a fortnight and for various reasons (all of which happened before I joined) there are no vocals. We had a mate come and do some singing for us on Thu and the general consensus was that it put us all off and we prefer it instrumental. Nothing to do with his ability mind, we just prefer it instruments only. Probably helps that we’ve chosen difficult songs to play, there’s a lot of work in them so it doesn’t get boring. The last band was a 3 piece originals punk/Oi band, all of us completely committed. I only left as the constant gigging and touring combined with a full time job got too much for me. So two bands completely different but the same in one respect, all band members wanting the same from that current band.

I’ve gone for black, to me 3TS/black/rosewood & blocks screams 70s. If it hadn’t had blocks I’d probably have gone tort.

Good points there Jack, and yes, having been in a 3 piece there`s no hiding place, everyone has to pull their weight so in general you get 3 band members with the same attitudes & drive.

Same for me, though to make life easy I used to use my Class D amp for rehearsals.

Looks great Nick, the Professional range is very good imo, though clearly it can still be a bit hit & miss with the old Fender QC which I`m still at a loss to understand in this day & age, with all the machinery that goes to making instruments.

Great looking stack there!