Lozz196

If you mean the Ashdown RM 410, yes I had one. It’s a great sounding cab, lightweight, stick some go faster castors on and it’s a real easy cab to move about.

Agree, and adding a second identical cab is also a very grin-inducing move.

I think the TC BH amps fit this bill quite nicely, have pretty much all the requirements covered.

Thunderbirds look great, sound great, but if in a case are incredibly impractical. The neck dive is also a pita, though once you acknowledge it and find a different place to put your on-stage drink and remember to reach for said drink with your picking hand you can then concentrate on low-slung heroics.

Ashdown RM, Fender Rumble, either would be plenty for pub sized gigs. As has been said, if weight not an issue you can pick up an Ashdown ABM combo for silly money and that would be ideal.

Good call, I found these quite comfortable to play, not as floppy as TIs but not high-tension like Rotosound/Fender/Chromes

Once I’d cleaned up my hot chocolate, which exploded in a brown powdery haze from the sachet, yes indeed the dream was fully lived 🙃

My Vintage Tony Butler Precision is made of poplar and it’s a great sounding bass - sounds very similar to my US Fenders. Ok it has different pickups/hardware etc but it sounds more like the US ones than would be expected for the money, I don’t think the poplar body detracts from it much.

Def. Never been a big fan of S&TB but they certainly had a pretty unique sound, and methinks Steve Severin had a lot of input on that. Also made me think listening to the vid how insipid the bass sounded on its own but just how well it worked on the songs.

I know I am, Blue, even though many of my fellow punkers may disapprove of such sentiments. His use of filling in and dropping lower on passages is something I incorporate into my playing.

Have you got the Pre-Shape on the amp on - not trying to teach you to suck eggs but bizarrely it’s off when the button is in, not out. If that is in the active position, coupled with a Sansamp there is a lot of mid-scooping going on.

A completely silent hotel room after this evenings rather raucous gig. Which is very pleasant.

Ashdown are on here, I’d seek their advice, they’re always happy to help out: @Ashdown Engineering

Bit of both, I write some of the material and occasional lyrics for choruses, but am strictly a sideman on stage, with backing vocals being my limit on the mic.

Ashdown ABM600 will get pretty much there on the sound. Pair it with cabs such as the Bergantino CN212 or a pair of Barefaced 210s for a lighter rig that will cope with all but the largest of stages. But do accept that the sound will change - you can get close with lighter gear but there is a difference - Ashdown and Ampeg are my faves for the depth of sound you get, that feel of the sound you get as well as hearing it. Also depends on the size of stages - in smaller venues not so much but on a bigger stage it will be more apparent that you’re no longer playing a valve amp/610 rig.

Terry Chapman of TJC Guitars is in Stevenage, not too far from Beds, May be worth contacting him.

Nice one

I have a Wenger rucksack that I use, can fit my Ashdown RM500 in it so the LM should be fine. I also get my (all boxed) Boss TU2 tuner, Sansamp Paradriver and Wireless kit in it, along with all my leads. It`s not cheap, but the convenience of loads of different sections for different bits means setting up and packing away is made much easier, rather than everything just dumped in one bundle, plus the quality is easy to see/feel.

Before the Super range the regular Compact and Midget were a very good pairing.

Thinking about this my tendency is to play 6 notes in a 4 note bar, much like: 1, 2/3, 4/5, 6 Giving a bit of a rhythmic feel to it. Unleashing my inner Lemmy methinks.

Pretty much like Roto Steels in that respect as well- pretty rough and quite high tension but like anything you get used to them pretty quickly.

I don’t know re their nickel strings but Warwick Red Label Steels are very similar to Rotosound Steels but last me about 3 times as long.

Hanoi Rocks’ All Those Wasted Years imo was a lot better than certainly their earlier recordings. I think the band themselves were of the opinion that it reflected their music better than their studio works.

Kia C’eed Estate - my Hiscox Case fits In widthways due the cutouts behind the lights. Which is nice.

I think those basses are also made of ash so should have a similar sound to the 70s one in the comparison vid.