Lozz196

Yeah I wouldn’t have a lot of that on, just add a touch so there’s an underlying presence.

I had a couple of their cabs, one light, one extremely heavy, both very good.

I’d check out Ashdown, not a recommendation based upon that I use their gear (though I am biased) but because of the sub-octave feature on their amps. Would have thought that would be ideal for reggae, adding a touch of that for some real deep bass. And given that they have that feature their cabs will be able to handle it - as would Barefaced cabs, they’ll take whatever is sent their way.

😁

Either the Tech21 VT or Para Driver will do it. I wouldn’t recommend the regular Sansamp as it’s a bit too scooped in the mids. You could take a punt on the Behringer BDI21, although a clone of the Sansamp its not as scoopy, and if you can track one down it will probably be for less than £30.

Failed again, this time a US Fender Deluxe Precision. In my defence I will be moving a bass on so I’m not adding, just changing.

I’m slightly different, I think of it along Monty Python lines, so my answer is “building bridges”.

My poplar bodied Vintage Tony Butler Precision sounds so similar to my US Fender Precision that I reckon that will be a good move/solution.

I used a BOSS WL20 and it was great. No faffing about with settings (it automatically finds the best frequency to use), no leads, no power packs, just two bugs, one in bass, one in amp, sorted.

I’m pie & mash, simple, dense & filling.

Definitely, virtually made for each other.

I`ve found these useful when in a band that plays on multi-band bills where there are gear shares - if you get all your eq from a preamp/DI pedal then no matter what rig you use you can get your sound pretty quickly, plus be confident that FOH gets it too. Ok the provided rig may take some tweaking but it`s what`s out front that matters.

I’m really tempted by these, but as I currently have an ABM600 and an RM500 and am in a band that doesn’t gig, even if it could I really have no need of one.

Well when I’ve helped out mates when they’ve started out I’ve tried to get them to concentrate on fretting on one string at a time - say go from the 3rd fret to the 5th, and repeat 4 times, then go 5th to 7th, just to get used to fretting properly. Then repeat this on each string in turn, so then getting used to the feel of each string. Once comfortable with that go from 3rd fret on one string to the 5th fret on the other. Small steps but once comfortable with fretting when you start on songs they’ll sound so much better to your ears without any mis-fretting.

It’s not faint at all, it’s positively shouting the house down!

Same here, in the interests of sensibility I’ve deleted it.

Same, and that`s only cos I depped for a band on a couple of gigs, otherwise it would 1.

Teen Spirit & Sweet Child o Mine must have been on there.

Just so that everyone knows, I’m not in any way, shape, or form jealous one bit....

They do like to tease, don’t they?

Yeah that’s why I mentioned the Ampeg 450 as well - they don’t seem to get much good said about them but I’ve found it really works really well for the 70s classic rock.

I reckon that would be perfect, or if you don’t want the weight of the CTM then an ABM of some sort would work well. I’m doing the same sort of thing at present and the rehearsal rooms SVT 450 ( the non valve one that looks like a valve amp) works really well for this material.

I can just about get Rhythm Stick, but it really is an approximation - in the mix it would sound fine, solo it would be evident i was skipping a good few notes.

Fender Rumble, Ashdown Rootmaster or Studio, Markbass CMD will all do it. Markbass will be slightly less versatile as doesn’t have gain/drive, but sounds great with a Precision for classic rock. Personally I’d discount the Trace Elf & 2x8 for gigging, I’d want power in reserve, not to have to push my gear to near its limits all the time.