Lozz196

Plus another thing to bear in mind is that Ashdown gear is priced pretty decently/competetively in the first place. Considering the quality and durability of their products a second hand bit of Ashdown kit is in general a bargain.

I`m happy to give this a go, I still have too much gear as it is, hence me off-loading as per my sig. Aside from strings, and any consumables I might need such as replacement parts/leads etc it sounds good to me. Even once I`ve off-loaded what is up for grabs I`ll still have more gear than I need for my band so this is a task that I`ll try to achieve.

Another satisfied Ashdown ABM-600 user here. I`ve had mine for nearly two years now, which is pretty much unheard of for me, having an amp that long. Additionally in that time I`ve tried different backup amps and the Ashdown RM-500 is now a keeper, it`s my second one and this time am going to be sensible and keep it, it`s light enough to take to gigs as a backup, but heavyweight enough in tone to keep me smiling. There`s really not that much difference with the RM to the ABM in pub-sized venues, it`s only once you get on the big stages that the ABM shows it has more - and a fair bit more - to it. There`s just more authority to the sound but that`s to be expected.

The two most instantly comfortable Precisions I`ve ever played was a Custom Shop Pino Palladino and a Road Worn. Yes the PP was better, but not as much as the differing price tags would have you believe. If it weren`t for the fact that the colours of the RWs are not that much to my liking I would have had one of them years ago.

I do think marketing is a big part of whether bands will appeal to (mainly young) people, certain bands and their behaviour/how they`ve been marketed have really helped, Sex Pistols, Guns N Roses, Oasis spring instantly to mind. I`m not knocking them, I loved all 3 bands but I do wonder if they hadn`t behaved as they did, or if maybe they had behaved that way but it not been reported about, as to whether or not I`d have ever heard of them at all. There aren`t many young bands on the punk scene at the moment, but a few spring to mind, bands who are really, really good, yet aside from a very small scene it`s difficult to see who they`d be marketed at.

Cheers mate, it was a great gig and likewise they`re one of my fave bands - Lars couldn't make it so Beefy was on guitar and he looked like he thoroughly enjoyed it.

That`s always been the problem I`ve found re clip-on tuners, in a live environment they just don`t cut it - very annoying as for flying gigs cutting down on pedals/leads would be ideal.

I think this is the answer, sometimes it`s not volume that`s the issue, but the size/depth of the sound. Adding in another Midget (or G3 Compact) will rather obviously double the amount of speakers going and it`s quite astonishing to hear how much difference that makes.

Have used Hiscox cases for years, would recommend them in an instant. Use mine for flights as well, the bass is nicely fit in them so no rattling around. Enough room in the - fairly small compartment - for spare strings/picks/batteries as well.

I think it`s to make sure that the audience can hear the kick-drum no matter what, to make sure it`s the most prominent instrument in the mix, and that it overpowers the vocals at all costs.

Our guitarist used an Orange amp head last night, it sounded really good, and I was surprised to find out it was solid-state, if I`d not been told I would have assumed it was a valve amp.

Old-school sounding amp, check out the re-emerged Orange Terror, now with added Clean switch.

That sounds really good on those clips, and pretty sure the addition of the Clean switch will be a big factor for many.

Congrats, they are really nice basses, play really well and feel so comfortable.

Some of the MIJs are made of basswood, which generally is lighter than alder or ash, and can account for the neck-dive.

I have to remind myself of this every time I get Jazz bass stirrings.

I have to admit that on the punk scene in the majority the audience are the same sort of age as, or older than me - I`m 52. Every now & then there will be younglings at a gig, but even for the newer bands (such as Dirt Box Disco, Booze & Glory, Wonk Unit to name a few) it`s still predominantly middle-aged people that go to see them. There are a few young punk bands on the scene and it`s really refreshing to see, but it`s not that often you see people under 30 in the bands.

I`ve had Markbass amps in the past, great amps, really good quality, and sit nicely in the mix. With the eq options on your MM JB you would have a very versatile set-up, especially for the pop/soul/funk aspects. I`ve not had one myself, but for punk and rock the Fender Rumble would be the better amp (imo) as it is voiced more vintage with some very nice drive/clank available if needed - I`ve heard bassists use them for this type of music and they`ve fitted really wel,. With the eq on both your bass and the Rumble I`m pretty sure you`d easily be able to do soul and funk as well as the heavier stuff. Lastly cost - the Markbass is a fair bit more costly. I`m yet to read anything negative re the Rumbles which is always a good sign and would say that indicates that the quality is sufficient for regular gigging.

I`ve currently got 5 US Precisions, none have neck dive. I don`t have super-duper straps either, just regular 2" wide nylon-weave Jim Dunlop straps, still no neck-dive. One feels different to the others, seems to pull a bit on my left shoulder a bit more, but still no neck-dive. Sounds like a case of very lightweight body as mentioned above.

One of the reasons why I use Ashdown amps, anything wrong and I can drive it there within an hour, and their customer service I`ve found to be excellent.

I think it was 2017, the time all seems to blur into one big lump after a while. Re amp with/without, I set my amp to have none of the eq/compression/drive activated, so without the PDDI it sounds just like a plain Precision would to desk, the PDDI therefore does all of my eq/gain etc. That`s why I love it so much, one little box that I can plug into any amp/FOH and the audience get what I want them to. The bonus is that the natural warmth of my Ashdown gear works well with the clinical sound of the PDDI for the on-stage sound. Not tried the Q\Strip, I love the look of it, especially with the sweepable high and low mids, but the lack of any gain/drive has meant I`ve not tried it.

Physical product for me, my choice being CD as I prefer the sound quality.

I thought this thread was gonna be about Bryan Adams - I got my second real six-string. I`ll get my coat..............

That`s a good call, buying cases on-line can be tiresome because of differing sizes. Our guitarist has been after a specific case for ages, e-mailed a retailer that appeared to have them in stock and asked them to measure it as the newer version is bigger, which he doesn`t want. They confirmed the sizes were as per the ad/older version. it arrived, of course it was the newer version. It seemed that using a tape measure was beyond the competence of the person dealing with the e-mailed enquiry.

The last item I bought was a 2016 US Precision last Saturday, entirely un-needed, I just wanted one in white/rosewood. A week before that I bought a BOSS WL20 Wireless Kit so I could (in my mind) leap around the stage (in reality it`s stumble/shuffle around on the same spot). But in answer to the question re the last item I bought that made a positive difference to my sound, it was my Tech21 Sansamp Para Driver bought early last year. I wouldn`t be without it now. It`s as much part of my sound as my Precision and fresh steel round-wound strings.