Lozz196

Great rock sounds, reminded me a lot of Black Stone Cherry, hopefully when normal life returns I’ll be able to get to one of your gigs.

Thus is one of the many reasons why I’ve never married or been in a long term relationship, I’d find it very difficult to accept someone attempting to tell me what I couldn’t spend the money that I get up and go to work for on.

I understand where you’re coming from Mick, I’ve found the right Precisions & Jazzes for me but simply can’t find the right PJ configuration bass. I’m thinking of just putting in a J pickup in one of my Precisions as this seems to the only way I’ll get the exact spec that I’m after.

Is this your own material @bagsieblue as I really like it.

Same here

Looks like a decent amp, I suspect that Harmonic Emphasis control will be pretty intriguing to those of us that like fresh new string sound.

Great, thanks for the tip

Well my 210/410s were Ashdown ABM EVO-IV cabs, the 212 set ups I’ve had - all of which were good I should state - were Markbass CMD121P & NY121, Barefaced Super 12T & Barefaced Big Twin 2. All good set ups but as well as preferring the sound of the ABM cabs there was a depth & overall bigness to the sound of that stack that wasn’t there with any of the 212s. I would say though that the 212s in terms of that depth & bigness were pretty much the same as the ABM410 on its own. So my preference isn’t volume so to speak, but that depth/bigness that you get from multiple speakers. Similarly why I like Marshall amp heads with matching 412s rather than their combo amps.

Good call Stew, same for me, first time my lone bass failed at a gig was the last time I only took one bass to a gig.

I’ve found that as long as people are sensible with the volume control that big cab set ups just sound better, to my taste. A band with an 810 & 412 set up playing to the volume of the kit just has a better depth to it, again, for how I like to hear music. I’ve never had an 810 (though played through many) but my 210 & 410 stack sounded better than any of the 212 set ups I had.

I had exactly that moment about 10 years ago, great on stage sound, just the right amount of lows and highs, but when I went out front to check levels it was just a booming mush. I’ve therefore learned that an on stage sound that I find is too trebly & twangy translates to the audience as a well measured bass sound that fits in the mix just right. Edit - and this was with a single 4x12 cab.

I found that pretty much all of the presets on the B3 were much too full on. Try editing them and backing off on the levels of the effects.

When we played with them he spent most of the time saying some very un complimentary things about Jimmy Pursey. The bizarre thing is that that’s literally how he introduced himself to us. The venue was only tiny so it was difficult to get an idea if they were any good or not, but in their favour they did play my fave Sham song, No Entry.

Nice one, got to be worth checking out.

That would be what is laughably known as the official Sham, I think at one point they had either an original drummer or second guitarist. The other proper version is Jimmy Pursey, Dave Parsons & Dave Tregunna from the original line up, with a new drummer. And very good they are, I’ve played with them a few times and they certainly know how to get the audience going.

For my last band as I was so focused on it I sold my guitars so that I only played bass, and therefore could only write on bass. I didn’t want the distraction of a different instrument getting in the way.

Yeah I read that, she said she prefers that as it removed minors/majors/sevenths etc from the initial idea.

That’s what I did once Ashdown brought out their ABM NEO cabs, got two of the 210s, ABM sound in a lightweight portable cab, plus with the cones being diagonally placed the cabs stand taller, so makes it easier to hear myself.

I’d never heard of Runrig before the weekend just gone but watched some if it and quite liked it. I agree, Sky Arts is a def gold mine - especially for people like myself who don’t have anything other than terrestrial TV.

I’ve had a good few 210/115 stacks, all worked great, though given that I didn’t have the matching cabs for any of them I’ve no idea if two of the 210s or 115s would have been better. I have however doubled up on identical cabs on other set-ups that I’ve had and that has always produced a very big grin, so nowadays it’s always the same cabs. Benefit of this also being if I only want to use one then my eq is going to be the same.

I do think that the feel of a bass is very important, given that in general we are looking to play them regularly. I’ve had Fenders that whilst fine basses just felt, well ok - for me mainly these were the S1 models. Nothing wrong with them, just didn’t get any inspiration from them. Whereas my current ones, 2015 (US Standard) & 16 (US Professional) Precisions and two 2017 (US Professional) Jazzes, well I just enjoy playing them so much. My 2015 Precision is my fave due to the sentimental value, but in terms of playability and enjoyment through playing them, well they’re all equal. I do feel a special warmth when playing the 2015 though, I’ve done so much with that bass and have so many memories from using it in some very special - to me - situations.

Hearing Pretty Vacant by The Sex Pistols was pretty much the same for me.

Big time apparently, might be worth contacting Watford Valves for their advice.

It’s not a ukulele, it’s an anteater!

I haven’t but I’ve gigged with both the Ashdown RM500 and ABM600 into 8ohm cabs, so only getting approx half power, in a punk band and never even come close to pushing the volume on either. Admittedly my gear was only for stage volumes but unless your band is incredibly loud I think it should be fine.