Lozz196

I love my set-up, it`s pretty simple but I don`t really play smart music so that fits fine, it be: US Fender Precision with Custom Shop 60s Pickups, Warwick 45 - 105 Red Label steel rounds, Tech21 Para Driver, Ashdown ABM 600 EVO-IV, Ashdown ABM 410 EVO-IV. I`ve even chosen Dunlop triangle tortex picks of 1mm to match the blue on the Ashdowns. The above gives me all the power I need, and a solidity to the tone on larger stages that I`ve found missing with smaller Class D amps. As all my gigs go FOH, and this from the eq on my Para Driver , having a solid sound on stage isn`t really that necessary but it`s nice to have it and the combination of the clinical Para Driver and the warmth of the ABM is just right for on-stage sounds. And I simply wouldn`t be without a Precision, I`ve had many, MIM, US, CIJ/MIJ, Korean Squiers, bucket-loads but the 2012-16 US Series are the ones for me, they`re simply the best ones for my needs

No, they are after all a lesser priced cab, but they do sound good, and the sound isn`t that much different to the ABMs, certainly at rehearsal/pub gig volumes. It`s on the bigger stages where I suspect that the ABMs will then come into their own.

Best bass in the world for me is a 2012-15 Series US Standard Fender Precision. I have 5 of them (tho one is for sale as think 5 is a tad excessive). I`ve played/owned many basses, many being Precisions, and the ones that work for me best are these ones.

We started out 5 years ago as an originals punk band made up of three late forties/early 50s guys, no idea where it would take us, but pretty much convinced it would be Tuesday night gigs to other bands and the occasional mate or two. Since then we`ve literally only played Fri/Sat gigs, played festivals, released three albums, played on the bill with some great well-known bands, toured overseas in Europe, and done gigs where we fly in to a city, do the gig, then fly home - was in Munich at the weekend doing this. Am not bigging myself up in any way here, what I`m saying is, go out and do it, I`m not sure what the metal scene is like any more but the punk scene is thriving, people still want to hear live noisy guitar music. You just need someone within your band that is focused and dedicated to get the gigs etc, that person is the one that will take your band as far as you`re capable. We all thought it would be a laugh to play some noisy original music whilst we still had a bit of life left in us, it`s been a blast, still going strong, wouldn`t change it for the world (touring Germany next week). Originals bands rock!!

You like the EBS tone so why not sort a more powerful EBS amp head (like the Reidmar) and another BB2 with the sale of the current EBS rig (and maybe the Genz too) - you`d then have the tone you love with two incredibly efficient, hi-fi cabs that would handle pretty much any stage known to man. Use one BB2 for rehearsals/smaller gigs, bring out the 2nd when you need a bit more presence.

Yep, 100 Club in Oxford St, Underworld in Camden, Garage and O2 Academy in Islington, all within a short tube ride. Not sure of anything within walking distance.

That`s the only CS bass I`ve ever played as well, Chris, and it was a cracker, easily the best Precision I`ve ever played. Quite why Clarky let that one go......

I used two of the RM 210s together and the sound wasn`t that different to my ABM410. It was a pub-sized venue so wasn`t pushing them, but my eq and volume on the amp/DI pedal stayed pretty much the same.

They`re very good. I`ve had the 210/115/112/410/610. Sold (or selling) them all. So if I rate them that highly why offload, well simply I bought loads of various cabs/amps etc to get the right set-up for me, and now that I`ve established that have moved on anything not needed. My main reason for moving the RMs on and keeping my ABMs is the metal grills on the ABMs, more hard-wearing for being in the back of a van on tour. Plus OCD - dreadful I know but it is a factor, I like my cabs to match my amp. So onto the RMs themselves, well they sound great which is the main thing, and handle some serious volume. And they`re light/easy to cart about which is another plus-point. If I were in a covers band with my cab(s) only ever going into my car I`d have a full RM set-up, but the size of stages we sometimes play and the back-of-van tours have sent me down the ABM route. But once I`m out of this type of band it will be RM all the way for me, you really have to get on a huge stage to tell the difference in the sound between the RMs and ABMs and that to me is probably the best compliment I can make about the RM range.

Yep, we`re now in process of writing our next album and some days when I sit down to try and get some ideas going I simply have to put the bass down as nothing seems to go right.

I am pleased to say that this no longer happens to me, but to the drummer - even to the point where he gets people asking him to take photos of them with the band (me & the singer/guitarist). It does make us chuckle.

I`ve actually been asked - when I was in a covers band - at half-time if I went to see the band much as the guy asking thought they were great. I found it very amusing.

Not Fender, but a mate of mine bought a Gibson Les Paul Custom and it was a rotten guitar. He bought it based on the playability and sound of my Les Paul Studio that I had, and he was really disappointed with the Custom, it just didn`t compare at all. It just shows that there can be rotters amongst all ranges - and stars too.

Same here, my fave is the Para Driver but I can use pretty much any of their stomp-boxes and get very the sound I want. The Para Driver nails it exactly for me, and of course each has their own flavour so they can`t all do what the other does exactly but on the hoof I can get a workable sound from all those I`ve tried so far.

Well I`ve only had one Ashdown item not work properly, was a dodgy tweeter on a cab and they replaced that for me free of charge. I don`t know if everything would be dealt that way, but in my dealings with them they`ve been excellent. I really rate them, both their products and the way they deal with their customers, and them being only an hours drive from me really helps if I ever need anything modding/fixing/looking at. Rather than sort couriers etc I`ll just pop the item over and explain what is occurring - the usual charge to enter the workshop is a packet of biscuits, no getting through the door without one 😀

Sqymbals - square cymbals. The size of the cymbals case for travelling with - especially on flights - is ridiculous, so make cymbals square and then they can fit in a regular suit-case.

Alder gets my vote, seems to be more balanced across the tonal spectrum, ash is quite toppy, mahogany nice and rich in the lows. I have a bass made of pine and that`s rather nice too, a bit in the middle of ash and alder (but not the dictionary of course).

Def, in the 5 years we`ve been together I`ve got one gig, the drummers got one gig, and the focused singer has got the other 200+. His hard work relies on us to be swift at advising if we`re available as another band may get the offer if we`re not.

Yes, it`s all very well being a democracy, but that can swiftly turn to an idiocy. Someone has to lead, fact of life, and it`s then up to both those who choose whether to follow or not, and the leader as to whether they want those people following them. An army marches to the pace of its slowest member. If the slowest member is impeding progress for whatever reasons there are then 2 people who need to make a decision.

Most people get a lunch-break, or finish work at some point throughout the day, at that point they can look at messages then, and similarly check calendars which are usually on the same device that receives the message. It`s what I have to do in general as I don`t get a signal in my work-place. I`d look at sorting band admin a bit quicker, yes it sounds like the guy is a bit over-bearing but typing three letters at a maximum (if asked available for a gig, Yes or No should suffice) and pressing the send key isn`t the biggest demand he could make, it may well calm him down no end to get timely responses.

For a warmer tone than GK I`d be looking at Fender Rumble series, Ampeg BA series, or Ashdown AAA series - having had all brands my personal recommendation would be Ashdown, but any of these should fit the bill.

I had a Classic 450 and my experience of the amp was similar to the above, it was plenty powerful enough and sounded great as well. Likewise with the BH250 that I had, unbelievable amount of power for such a tiny little amp, and no slouch in the quality of sound either.

Only been using Ashdown for the past 2 years, Dave, and my Rootmaster is a 500, 800 is just showing off imo 🤣 , but my opinions are pretty much the same. I`ve bought/sold a lot of Ashdown gear to get the "right" set-up for me - all have sounded great, just wanted to find the most efficient set-up for my needs and now have it. The sound, reliability, value for money, I just can`t think of buying a different brand of amp/speaker now.

My advice would be to go to see some local bands, and when you hear a bass set-up you really like the sound of, look into that make. There are so many different factors and in all honesty pretty much any modern lightweight amp will be plenty good enough for a covers band doing a variety of different styles. However you mention upgrade, what`s the current brand/set-up you`re using, what do you like and dislike about it (sound-wise) that is probably a good place to start.

Getting a graphic equaliser with an overall level slider and cutting that should do it. However, as @thodrik has one and says that reducing the gain doesn`t impact on the sound/doesn`t lose valve warmth, I`d try that first.