Lozz196

And she’s still as stunning looking today, plus a very nice lady as well.

Well the Sansamp is a fairly scooped sound so unless that’s the sound you dial in I’d look at maybe the Tech21 VTDI - much more capable of getting near the usual Ashdown sound. Or there’s the Ashdown Original pedal which is meant to be a very good representation of the Ashdown sound.

On Friday we played The Fleece in Bristol, supporting Sham 69. Was an early show with a strict 10:30 curfew. Was a very packed Fleece indeed, even for when we were on at 7:30, and the crowd were very appreciative of our set. Unfortunately I didn`t enjoy the gig at all, as I`ve recently injured my right wrist at work. I`m currently wearing a wrist support and I can play, but I can`t get the same attack as my style is all about hit as hard as possible. Plus the amp set-up, which was an Ampeg Heritage SVT & 810, well it was as boomy as anything. Usually with SVTs I just set everything at midday and with my trusty Para Driver all is good but on-stage it was horrible. I knew that out front was getting what was needed so tried to not let it bother me but that, combined with the wrist made me not enjoy that gig at all.

I suppose I`m quite lucky being on the originals scene, the only people who get up on stage are generally there to jump off of it. Every now & then we might get a bunch of people who decide to help out on the chorus of a song or two - we don`t really need the help to be honest - but it`s always good-natured. I`ve only ever got the hump with one guy, years ago, who spat at us thinking that was what you did at punk gigs - I hit him straight in the eye with the headstock of my bass then had a fight with him later. I had less patience when I was younger.

I think so, and am fairly sure Jerry Scheff also played like that.

Not being very good with techie stuff @fretmeister, if I understand correctly does this mean you aren’t connecting the pedal to mains, just via a small battery set-up with a converter and lead? If so that’s the workaround I’m sure many of us are after.

The Player Series are very nice instruments, I was very impressed when I got my Player Precision and likewise I’m not sure that there’s nearly £800 difference between these and the US range.

I’m 6ft and when I was in my teens/early 20s was one of the tallest people around both at work and in my local. Now it seems I’m just of average height. I don’t think Boris has been blamed for enough this week so I’m going to lay this at his door.

For me they’d be the ultimate fly-rigs if they had the option to run on batteries. Having to take a power supply and a converter plug (and then hope there’s a power socket you can see that’s near enough) makes these not as convenient as they could be for actual flying gigs to other countries.

I’m pretty much in the “if it’s not there don’t force it” camp. Many a time I’ve sat down and tried to get riffs/songs and ended up with nothing, however the times I’ve found most productive have been when I’ve simply sat down to play for the sake of it. At that point I seem to be able to produce good working ideas. These sessions usually start with me selecting songs I know how to play on YouTube, playing along then going off on a tangent and ending up with some workable ideas. Probably as my mind was relaxed by that point I suppose, just enjoying playing stuff I love,

Yes of course, the difficult in-house people, forgot that one but when they raise their heads above the parapet man, do they contribute big time to a bad gig.

Bad gigs for me are where the promoter does nothing other than book the gig, where the headline band lose their heads in their own back-passages and won’t move their drums off stage but won’t allow the other band(s) to use it, multi band gigs in venues where there isn’t enough storage for all the gear, and where the promoters don’t get in a set backline to make changeovers/storage easier. Also gigs where bands think of the gig more as a party and bring all their friends in the dressing room who then drink the whole rider and stay sat in the chairs that are there for the bands to relax in. Said bands are often the types that overrun on set times. Again the promoters should have a better handle on this and just stop both of these happening. Lastly gigs where there is no parking - makes things just that little bit more frustrating.

Not sure but if it plays well and sounds good then you’ve got the two points which count. As a third point it looks cool too.

Given the variety of sounds we’ve heard on the demos so far on this thread I really like the look of this. Each demo is pushing me further towards it, aaarggh.

I like that, very well mixed & balanced imo. I especially like the guitar sound, it’s nice to hear a guitar that isn’t way over the top driven/delayed/reverbed, think he’s nailed the Andy Taylor vibe there.

Just bought the new Michael Monroe CD, One Man Gang and only 5 tracks in so far the verdict is its killer! Which is nice as I’ve got tickets to see him on 02 Nov.

I had a Markbass 2x12, it wasn’t to my recall the NY version. It was however a very nice sounding cab, and very light/portable. I also noticed that you roll off the high end on your current set-up, well in my experience with Markbass cabs they have an in-built high end roll off so they should suit you very well.

Unless the style of playing used doesn’t work for the band in question why change?

Genius, he managed to sound like Lemmy on an acoustic fretless.

Not exactly one-trick, with the same strings and eq on my Para Driver that I use for my live work, just rolling off the tone control makes it sound a very different instrument.

I liked them, did some good stuff that I thought was great but also some that I just can’t listen to.

Whoever played bass on Seasons in The Sun, though I didn’t realise it at the time, then punk in general. A few obvious contenders being Sid Vicious (yes he wasn’t a great bassist but played for the best punk band and looked great), and JJ Burnell & Bruce Foxton who made the bass almost a lead instrument.

Congrats, they`re decent little cabs and surprisingly full-sounding given their size. I`ve used them a couple of times - courtesy of friendly headlining band that I know fairly well.

It’s pretty easy, use maple fretboards on guitars for use in Europe.