Lozz196

First - Rockpile (Nick Lowe & Dave Edmunds) Hemel Hempstead 1979 Last - Mike Monroe (of Hanoi Rocks) Milton Keynes 2019 Best - The Sex Pistols, Finsbury Park 1996 Worst - Siouxsie & The Banshees Hammersmith 1986 Loudest - why Motörhead of course, Hammersmith 1985 Seen the most - prob Stiff Little Fingers Most Surprising - The Cure Next - not known Wish I could have seen - The Sex Pistols in 1976, alas I was too young

Yeah, I’ve found that they seem to have a high end roll-off, but that’s only an issue if DI ing to FOH and wanting the same sound out front as on stage. For a regular pub gig where the rig is doing it all never an issue. I think the bass was going to FOH - as were all the instruments- but it wasn’t made any louder, just a small presence to balance out.

I’m not sure to be honest, I used it with my Precision on Weds when we met up and it was all a bit too full-on, hence my decision to use Stingray/Compressor. Whether or not I’ll need said Para Driver who knows but I’ll still def take it to the next session and try it - maybe with less extreme settings though.

Yes, a 2x10 stood vertically. I was very impressed by it, it just worked.

That’s a good line-up on the Sunday. Great venue too.

I was really impressed with that. It’s probably the only Level 42 song I’m really familiar with so was a good point of reference and I think you’ve done it proud. And what bass playing, well done for taking that on.

So after having had to leave my band at the end of 2019 due to it taking its toll on me I have a new venture. A group of mates have a jam session every other week and they’ve asked me to join in - as it’s not a band in the traditional sense, as in no gigging, no recording it’s ideal for me, it’s a laugh, we meet up and just enjoy playing for the enjoyment of music. We’re playing some great material, by bands such as Rainbow, Deep Purple, and Led Zep to name a few - a bit of a departure from my previous punk/Oi. The theory is select songs that will push us as musicians, and especially given there are no vocals it really makes you concentrate whilst playing. It’s great to still be able to play as I didn’t want to either give up totally, or to join another gigging band as I need a break from all that. Plus I’ve decided to use my Stingray AND a compressor, so def new beginnings for a new decade. Which is nice.

I think I did, one of my many rig changes over the years.

Ve haf vays of making you enjoy yourselves!

Went to see a band last night and was reminded of just what a great combination a Fender Precision and a Markbass amp are. The bassist was also using an MXR M87 compressor and the sound was great, really good solid low end, nothing fancy, just a great bass sound that really locked in with the drums.

I can easily tell the difference on my Ashdown ABM600, it really thickens out the sound, warming it up and seemingly adding in extra harmonics. I think the comparison of the Marshall DBS is a good one.

I would have thought the Aggie would be heavier, was sure the GS410s are 80plus pounds.

You never know who was the instigator on things like this, so rather than burning bridges with all of them I’d just reply and say thanks for letting me know, wish you all the best. That simple communication could really work to your favour years down the line when not expecting it.

I had the 410 & 210 paired together. For the band I was in I needed sharp highs/ a crisp sound, sort of Duff McKagan style . I paired them with a Gallien Krueger amp and a Sansamp but just couldn’t get the sharpness required. Not the fault of the cabs, they’re described as vintage/relaxed top end so it was wrong tools for the job. I’d recommend them for anything like rock, old school punk, Motown. Not sure about slap, have no real knowledge of what’s needed for that.

Baz is very good, enough like HC to sound authentic to the original material but also has enough of his own style to not sound like an impersonator if that makes sense.

Agree, Paul, the rest of the song sounds like it’s on the stereo but JJ sounds like his actual amp is in the room when it kicks in.

My Mono M80 has plenty of room left at the end when my Precision is in it, might be worth checking out one of those.

I may we’ll have to go to one of these, I missed them last year at Rebellion as friends of mine were playing on another stage at the same time.

For a home studio I’d say V4 and an SVT212 (which is meant be very SVT810-like) or SVT410HE should be plenty. I used a V4 into a 410 at a gig on a fairly big stage and it was n’t even pushed getting enough on stage volume (I’m not big on bass in monitors so it was doing it all).

I can’t remember, I know 12s featured a fair bit but details elude. I do remember that the Berg CN212 was the winner tho.

Not sure if ever in print, but if so Strange Fruit from Still Crazy, which on film was Bill Nighy, Timothy Spall, Jimmy Nail, Stephen Rea, being a 70s rock band who reformed for a tour/festival. Absolute classic.

Whilst it makes a great difference to us bassists it probably makes little or no difference to the audience. At a bass bash we did a cab test and although there were slight differences with the sound, every single one of us would have been happy to own/gig any of the cabs tested. And they ranged from super cheap to super expensive.

The only one I’ve had was the Duff McKagan Sig. Some people say that with a PJ the P never sounds exactly P even with the J turned fully down, as said J is still in the loop, but I never noticed that. It’s something I’ve been looking at again as it happens but they - Fender - don’t do exactly what I want so looks like I’ll have to go without.

A 410 at 33lbs! Makes our fanboi-faves look positively planet-weight.

Really nice