Lozz196

Depends on how loud your drummer is really, a 100 watt 1x15 should be loud enough but will it have the depth of sound you want? Ideally I like to have more power than I need, so that I don`t push my amp, with that in mind for the size venues mentioned I`d probably look at 300 watts or so. The Fender Rumbles are great amps in this range, as are the Ashdown Rootmasters. Both are lightweight as well - but not on sound I should add.

Still do it, now you know what time you`re on promote it to the best you can, including that there has been an admin error on the name of the band on the official blurb. Turn up, play, stay for the rest of the bands, sell your merch and keep cementing a reputation of a band that honours its commitments. Might sound a bit po-faced, but when you`re starting out a reputation as a band that`s good to work with will keep you in work. Unfortunately we all encounter promoters like this, but at the end of the day you can play a blinder and gain an advantage through it.

When we started our band I really had no idea of the type of sound I wanted - or more importantly that the band needed. My preferred sound is a traditional warm Precision/Ampeg type sound, maybe a touch of high end and compression to stop it being boomy. But that wasn`t what was needed, the guitarist has a very full on, and at the time quite bassy sound, so didn`t want a sludge fest, especially as we play fast. Additionally as we`re a 3-piece I didn`t want the backside of the songs to drop when there was a solo, so added a bit of gain, a fair bit of top end, and some high-mids. I ended up with somewhere between Duff McKagan, Mike Dirnt, JJ Burnell & Bruce Foxton. Which imo isn`t a bad place to be, sound-wise. I also developed a slight different style to suit the music I`m now playing, again to fill out more in lead solos. To get this sound I`ve tried a fair few preamp/DI pedals, Tech 21 Sansamp BDDI, Tech 21 VTDI, Aguilar Tonehammer, and combinations of these, but eventually settled on the Tech 21 Para Driver - it has sweepable mids, so I can get the regular Sansamp type sound, just with boosted upper mids. It`s a great pedal and that piece of kit that I find invaluable, pairs so nicely with the weighty sound of my Ashdown ABM600.

Our drummer uses damping rings. They don`t make him quieter but they do make the attack of the drum seem quicker, and there is less resonance, so they should probably be known as compressors

I think the word under your username sums that up nicely, Ian

As a follow on from my earlier post, I`ve since found out that the guy who died is having his casket come out to one of our songs. Really moving, and just goes to show that our bands may touch people in ways they never get to know, but the two things from this for me are never get big headed and remember the audience are the ones who count, and always put on your best show/performance.

A Fender Pino Palladino Sig Precision. Was a cracker. Have to admit next for me in terms of basses I`ve not owned are the Road Worn Precisions, amazingly good basses.

Really? Whilst I do agree that you have to write music for you, and not because you think audiences will like it, take away the audience completely and what do you have left, bedroom guitarists/bassists/drummers. The audience and fans are to me the major thing - what we all do means something to people who come to see us. A few weeks ago we were asked to play a gig for a guy who unfortunately had cancer - I say had as sadly he passed away recently. At the end of the gig he said to me "that made my night". I was really humbled and pretty choked by this, I felt honoured that we had been asked to do the gig. Never forget that whilst we get pleasure from what we do, it`s who you deliver it to that counts, and your music could really mean a lot to someone.

These cases look pretty good, have been tempted for a while to get one for touring, make life easier with the wheels etc: https://store.trifibre.co.uk/waterproof-wheeled-rolling-travel-equipment-tool-hard-case-pick-and-pluck-foam.html

I had Eminence Betas put in a couple of Ashdown 210 cabs, by Ashdown, and I found them to be very nice indeed. Re 610s, well I`ll take the opportunity to shamelessly plug the Ashdown RM610 that I`m selling, and I`m pretty sure Ashdown also have one of these as B-Stock, unless they`ve sold it, so you could get two pretty decent cabs that would be big enough for any gig with change from £800. Which is nice.

A great gig for me is where many of the audience buy merch and tell us how great it was. I don`t say this because I want the attention and to be loved, it just means that they really enjoyed themselves and liked the band, which after all is the reason why we do it. I`ve played to some very small audiences but because of their reactions to the band these gigs have been some of the best, like a gig we did in Bremen last year, small venue (full though), first time we`d played there and they went nuts. To get that reaction means we`ve done a good job. We try to remember that the audience are the important ones, not us, we`re there for them, not the other way round.

The answer from me is no, however my backup Vintage Tony Butler Sig Precision at (new) about a fifth of the price of my my US Standard Precision isn`t as far away as the price gap would suggest.

For anyone liking Rotosounds, Warwick Red Lable steel roundwounds are great, last a fair bit longer, and you can get them for around £8/9 a set.

+1. I`ve had many Class D amps and the RMs are the closest I`ve found to that big weighty sound you get from a big weighty bass amp.

Tone is in the plectrums?

There`s probably a lot of science and theories on this, but if the sound is acceptable to the ear then that has to be the most important factor. I think they`re probably more designed to be removed to make shipping easier/less prone to breakages/able to be stacked better.

Providing they hit it musically, I like tribute bands, especially when they try to look like the band, and play the same type of instruments. Best I ever saw on a pub-level was The Likeness, they just nailed the sound of The Darkness, best all round was Bjorn Again, just amazing. Another great band are The Ramonas, an all-girl Ramones tribute band, though they do now do their own material as well.

I use the same tone at home and in the band, figuring if when I`m writing I need to hear the sound I`ll be making on stage to give as good an idea of how it will sound. So for me, on my Sansamp Para Driver it`s bass boosted a tad, hi-mids (3kHz) and treble (3.2kHz) boosted a lot, gain set to breakup if hit hard (so all the time then).

And was a bit disappointed to see 2 other guitarists doing most of what JDB does, with him only playing in certain parts of the songs. Not a fault of the show I should add.

Looking forward to seeing The Manic Street Preachers on Joolz this eve

I`ve not got experience with these cabs, but did have a similar issue with a cab, had a whistling/vibrating/wampy noise when a low B was played. Turned out to be the tweeter was iffy, so it was replaced/upgraded and problem sorted.

Tsk, tsk, how unprofessional Shelly

Must admit having had bucket loads of lightweight gear, I`ve found that I prefer the sound of the heavier gear - or at least I prefer the sound of the heavier gear I`ve tried, such as Marshall, Ampeg, Ashdown, Peavey. I just seem to get the sound I`m after better with a heavy as hell cab, coupled with my trusty Ashdown ABM600/Sansamp Para Driver set-up. Even if just using the Para Driver into a full provided rig I`ve preferred the sound when it`s been a bigger, heavier amp to a smaller lightweight Class D one, the only exception being the Ashdown RM500 - that`s a weighty sounding amp for its size.

Or maybe they use terms like that to - shall we say the less technical of us - in an attempt to be speaking a language that we will understand. I`m in no way a technically savvy person, but if someone says the bottom end will be tighter or looser I`ve got it straight away. Whether it`s engineer or marketing terms, if I`ve understood what they meant the communication has been successful.