Lozz196

The Korean Squiers I thought were particularly good.

I wouldn’t play them, just an excuse for drunken idiots to start shouting paedo. Shame, the music should be entirely separate but thinks aren’t always quite so clear cut.

Plus a lot of the tone will be due to the pickups which can easily be swapped out. A lot of difference between the two, both Seymour Duncan’s but with the SH having the Steve Harris pickup, a nice middy pickup, the NM having Quarterpounders which emphasise the lows and highs, giving a scooped sound.

I had one, the 4ohm version. I really liked it and only decided to move it on and keep my ABM410 based on the (harder wearing) metal grille on the ABM and my OCD to have matching amp/cab. Truth be told I preferred the sound of the RM410, it was less low-end focused/tighter sounding, but this was in the rehearsal room, I never got round to using it at a gig so as to get a real objective view.

We’re Knock Off.

Stainless Steel for me at present. It’s horses for courses really, depends on what I need at the time.

I wouldn`t let the 350 watts of the Ashdown put you off - the RM range are incredibly powerful. I`ve only ever connected my RM500 head to an 8ohm cab and never been able to push volume past where I need it, and I`m in a punk band so we`re not playing quiet music.

Cheers Russ Nice one, I love that place, the gigs there are great, crowd always up for it. We also play a good few gigs with Terminal Rage and yes, Raphs girlfriends TE amp sounds amazing.

I usually get around the 13000 on these

5 - one for each bass plus my guitar. All the same too, Jim Dunlop Double D Black DD4009BK. Good enough for Duff, good enough for me.

The Xvive works well, our guitarist uses one. I went with the Boss WL20 seeing as it sets the frequency itself, just less things to check/peer at on dark stages.

Last nights gig was at a Punk Weekender in Butlins, Minehead. We were on the Introducing Stage, where 4 bands who’ve not played the event before play, and the audience choose their fave, that band then go on to play the main stage next year with the big boys. Our set went really well, the place was pretty packed and the crowd were great, given the nature of our music it’s noisy but we could hear them singing along which was great. Plenty of them wearing our t-shirts too. Riotous applause at the end of the set, and we sold a great deal of merch. On the way back home we got the call telling us we’d won.

Our guitarist uses them and has been very pleased. I`ve got the Boss WL20 which is also good but a bit more costly than the U2. Went with the Boss as it sorts out the frequencies itself, rather than having to choose settings - with middle-aged eyesight/dark stages this was a feature I couldn`t turn down.

If looking at similar tone to the Ampeg I`d check out Aguilar Tonehammers or Ashdown RM range. I`ve had all three and both the Aguilar and Ashdown have a lot more volume on tap. The Aguilar is more driven sounding (you need to push gain to get it loud, but it`s a good loud), the Ashdown a lot fuller sounding.

Looks great Col, playing through a “fridge” the first time is pretty grin-inducing isn’t it?

Quite a decent venue, but okayered there myself butcseen a few bands there.

Very good point, Pete. I have active eq on both my amp and preamp pedal.

Suits me nicely

Im not sure there is a cut-off point where we make the step from bassist to musician, to me a bassist is a musician as is a guitarist, drummer etc. Much like football, defender, midfielder, striker, they’re all footballers.

To me it’s a way of describing sound that you not only hear on stage but which you also feel. Doesn’t have to be bass heavy - the way I have amps set is anything but - but you feel the notes resonate within you.

Their version of I Fought The Law was pretty decent too.

My recommendations, whenever anyone mentions P basses, are for the US Standards, 2012-15 Series, simply the best Precisions I`ve found (for me). Only thing that might go against in this instance is that the necks are a handful, if you like slimmer necks these may not be the best choice.

I think we all have our own style and it’s a case of matching up with someone on a similar wavelength. Familiarity certainly plays a part too, getting used to a new/different drummer will take time.

Agreed, what the audience hear is unlikely to be what we hear on stage. But, and a big but for me - no, not been on the lard sandwiches - if I have a good sound on stage I find I enjoy playing more. I then hope that that enjoyment will translate into my playing, so my performance hopefully will be better.