Lozz196

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.

There is a slight possibility of that Mick 🤣 My recommendation - providing you like a chunky neck @dmccombe7 - is for the US Standards 2012-15 Series. I’ve had Precisions from many ranges/decades/countries of manufacture and these ones imo knock all the others out of the water. They play and sound amazing. Pick up a black or white one with a maple neck, stick a black scratch plate on and you have a vision of the 70s. Dont know where you’re based but if it’s down south way you’re more than welcome to check my Precisions out.

Not sure about today’s music Jack, it’s so safe and insipid I think my great grandparents invented it.

Sounds like adding feeling to the song to me, may not be technically perfect but live music has to have a “feel” to it and this sounds a good way of getting it.

I read these posts and thank whatever is above for our drummer

I`ve been in a similar situation many moons ago, but with a guitarist. He was a great player but didn`t have transport, a suitable guitar, or an amp (guess who had to provide all of those) and wouldn`t set any gear up. He couldn`t learn songs, couldn`t remember where the solos were (after the 2nd chorus in every song) and his priority was to drink as much as possible on the way to rehearsal as well as once there. I didn`t exactly do the "it`s him or me", I just said to the other guys I wouldn`t work with the band whilst he was in it. Now in terms of sheer playing he was far better than me, when he played a solo it was sheer genius but it`s what he didn`t bring to the band that they concentrated on, luckily for me.They fired him. And he`d been a mate of mine for some 25 years at that point, so I did feel a bit guilty but as they say, it`s business, nothing personal, and that`s what this situation is. If it were the workplace this drummer would be fired pdq.

I really liked it with the tort plate.

I think it would be really helpful if amp manufacturers put what the flat settings if their amps were in the manuals. Would really help when choosing cabs etc, and especially if intending to go post-eq to FOH.

I’ve had a CV, good basses, got a V4 Tony Butler, great bass. If you like slimmer necks I’d go CV, if you like medium go regular V4, if you like a real chunker get the Tony Butler. Additionally the Vintage V4 TB to me just feels more substantial, it just has a real reassuring feel to it. It’s the nearest bass I’ve found to my US Standards in feel, playability and sound. And lastly there are a couple of V4s up for grabs on here at the moment at very good prices, serious amount of instrument for what they’re up for.

My two gigging Precisions have what I think is legit mojo, the knocks don’t look fake and even if they are they’re not too big/obvious so that suits me. To me legit mojo looks like accidents, fake mojo looks like someone has had to put in a lot of effort.

Can’t have a bass that offends punk sensibilities, just wouldn’t be proper 😀

I think it’s pretty decent to say the least, not sure why so many dislike it.