Lozz196

I’ve found that the Ashdown speaker cabs seem to be lower voiced than Ampegs, and that if you boost the highs on the Ampegs they seem more crisp - I think it’s probably the mids that Ampeg are famed for.

I had one, only used it once and the sound was great, just that bit too big & heavy for me but in sound alone they’re great cabs.

10s are fine for low end, a good 410 will give a whole load of lows. All 3 of the brands mentioned are good sounding gear.

Well sort of, it was a - big surprise - Precision into Markbass, a combination I’ve used over the years. The compressor just gave it a wonderful even-ness.

It depends on the type of music, the gear the guitarist uses, and how heavy handed the drummer is. Assuming the guitarist isn’t using a 100 watt half stack, and that the drummer doesn’t try to build a shed on every song then the 210 should be fine. I used a Marshall 210 300 watt combo in a 2 guitar punk band, I also used a Markbass 112 300 watt combo in an alt/indie type band. In both of those bands the Bass didn’t go FOH so the combos had to be loud enough for the whole of a regular pub sized venue - and both were. All that said I’d look at a 212 or 410 cab with amp head - there are some scarily good bargains on here at present, Peaveys being amongst them.

Yeah I was so determined to use one to iron out peaks troughs but - and I suppose it’s not giving it a chance - I just prefer the sound without one. Yet when I heard someone else using one I loved it.

May not be any good for metal, try Irn Bru?

Unless the strings come with instructions to not cut I always trim them down to about 13cm,, which allows for approx 3 winds.

For years I was a rosewood man, never even considered instruments with maple. Then in my last band we started playing brightly - sometimes too brightly - lit stages and I found it difficult to see where I was on rosewood boards, so switched to maple. Made the seeing bit much easier, and I found that there wasn’t really that much difference in either the feel or the sound. At home I could detect a slight snappier response but in the mix not a chance.

Looks great, love that rack of Warwicks.

That’s very interesting Stew, and links in to that post which has musicians stating that their instruments are an extension of their bodies. I’ll have to check one of these out, they get such good reviews, the only other ones I’ve seen people rave about so much have been the Nate Mendels and the Matt Freemans.

I’d look at adding in a preamp pedal - have the OTB set clean and then use the preamp for the better top end and grit. Sansamp works nicely with the OTB, Para Driver would give more options in the mid range.

Fingers crossed then.

I’d reckon that although you’d have PayPal to assist it has to be better having Ebay available as support as well.

So assuming that the EU only do similar bands/performers will still be able to do week long tours as currently, with no costs. Well that will be a result, both for artists/musicians, and for common sense/practicality.

Quick question to those in the know, is the fee per visit, or is it for a specific time period (year/5 years etc). If per year I know that, although it’s a fair initial outlay, my old band would have had no issues (other than getting three dumbos to complete the relevant forms that is).

I’ve just bought a set of Alpines. Much better than the other set I had (no idea what brand). They do just what I wanted, reduce the whole overall sound levels, no dramatic reductions in any specific areas - or at least none that I noticed. The drummer I’m working with has a pistol shot sound to his snare and after a rehearsal without ear protection it was telling on the the old lugs, a rehearsal with the Alpines and no problemmo.

Stiff Little Fingers, with support from The Professionals & The Adverts at The Roundhouse on Sat 28 March. Going to be a strange experience, I’ve spent the last 6 years gigging with many of my fave bands so going to a gig as a punter, and actually paying will all seem rather odd.

I was going to see them in Watford just before Xmas but the gig was cancelled due to works at the venue not being carried out properly. Was gutted.

A band I know travelled to the US undercover for a gig, but made the mistake of having set lists on them. Don’t know what line they spun but they got in and managed to do the gig as well.

Pretty much nothing. I know of many bands that play in one area of the world which has rather stringent regulations and from my understanding all of them manage it as above. You run the risks of course, but it can be done.

The Fleece is a great venue, totally ridiculous putting those flats up there. Played many a good gig at The Fleece, one of the venues I will miss now I’m no longer gigging.