Lozz196

E to G when tuning, but when I change strings I do G to E. Dunno why.

Never saw them, but watched them on TV shows and as well as clearly being a good band, PL was clearly a good bassist - he had a great tone on some of the clips I saw, and looked as cool as.

In some respects I think it’s the words written, most of communication is taken by visuals, as well as tone of voice - remove those and you’re left with just the words which will more than likely seem much harsher than were intended.

Good point, clean and precise enough, good tight low end without boom, gotta be a task to mess that up if sent flat.

Hubba-Hubba, that`s a beaut Tim, what age is it, as notice the "proper" pickups and tuning pegs?

I`m pretty similar to that Pete, apart from my DI sound goes direct from my Sansamp Para Driver. I know what that sounds like through flat PA speakers/monitors, so not that fussed on how it sounds through whatever amp/cab is there for the gig. On most I can tweak to get near what I want on stage, but on some it has been pretty difficult. Knowing FOH is getting what we as a band need the audience to hear is the main thing, not what we on stage can hear (and I`m sure the other 2 in the band wouldn`t even notice anyway).

Well for me to keep an amp for 2 years and not even think of offloading it, well it means I like it.

Depends on work being done and how long they initially advised.

Somewhat biased here, but the only one I liked was the Precision, tho the Thunderbird was passable.

It is a warm/bassy amp if used in a small environment. I find cutting the 100hz works well in smaller rooms/stages. But get it on a big stage and you really feel the benefit, no weedy sounds from the ABM600 on a big stage, just solid power.

Ashdown ABM 600 EVO-IV Great amp, offering solid-state weight but warm heavyweight sounds - the weight to the sound that you can feel, and more importantly which doesn`t get lost on big stages. 9-band eq/drive/compression so versatile too. Reliable as anything, and all ABMs are built so that they can be repaired, with Ashdown only being an hours drive from me this is a big plus-point . Have now had this amp 2 years which is almost unheard of for me, I must like it! Ashdown ABM 410 EVO-IV Solidly built, fairly heavy cab. Has been on tour in the back of a van protected only by a Roq Solid cover and no problems. I`ve added some go-faster castors to it to help carting it about. Handles anything I put into it, and what a sound. Like the amp it has that weight to the sound and again like the amp, that weight doesn`t get lost when you have to go loud. IMO the Ashdown ABM range is built for those needing solid reliable gear that can cope with all range of venues/stages. Might not be the lightest gear, but it`s far from the heaviest and having had lighter gear, I`ll stick with the ABMs. Ashdowns customer service also a real plus-factor as it`s been second to none in my experience.

I like that sneakyness

The last band that did that for me was Booze & Glory. Was at the Rebellion Festival in 2015 and there was one period on Fri/Sat eve where I didn`t know any of the bands that were playing, so decided to check them all out, popping my head in each stage for a song or two. Well once I was in The Arena where B&G were on, that was it, I wasn`t going anywhere else. Fast forward a few years and we were lucky enough to do a few gigs with them, which was great, playing gigs with my now fave band.

Thing is, as they insisted on pre-eq it was their job to then eq it to fit in the mix properly. This always amazes me, bands - usually - work as a collective to get their overall sound, then someone on a desk with no knowledge of that sound decides to maintain the sound of all the instruments apart from one - and more often than not it’s the bass. And more often than not what they do to the bass ends up in a sludgy booming subby mess.

I play the bass line of the song the band will be playing in the soundcheck. I just figure that’s the best option for the person on the desk, hearing it in both isolation then with the whole band.

OBBM is the answer, given the brands you’ve tried and not found suitable. Should also add that it won’t break the bank at all, probably be better priced than what you’ve already had.

I’ve decided to learn a few more songs outside of my current bands style, which is street punk/Oi. So have already started on Wuthering Heights by Kate Bush.

I feel for you @Ruck, dream gig ruined by someone not taking any care and attention.

Yeah that`s the one, looks like Bedders has moved on from the Bass Centre one then. Thought it was a great presence in the mix. I did an online search which said he was using the Bruce Thomas bass, but thought maybe he`d had that changed to the 51 style controls but it`s def the JKG one, the facebook page shows it nicely.

Just looked up what bass he’s using, a Bass Centre Bruce Thomas Precision. Apparently made from basswood but there’s no lacking in his sound this eve, certainly giving me a rethink on basswood which up until now I’ve always thought a bit lacking.

Just watching this, not a bad sound at all and even just with regular TV speakers bass nicely present in the mix.

Would the Quilter Bass Block Work? From what I’ve read many seem to use it flat with preamp pedals etc.

From the two amps mentioned the Terror is more like a valve amp sound imo, but is limited by its eq - it does sound fantastic though and adding in a preamp pedal adds in some versatility. The GK, because of its valves is much warmer than the regular GK sound, tho it still sounds like a GK, it’s also more versatile due the on-board eq. I think if I were looking at only those two I’d go Terror plus preamp pedal.

Thankfully this sort of thing rarely happens on the punk/Oi scene, probably as the rest of the crowd would severely batter anyone stupid enough to do it.