Lozz196

Awesome, just and a look at the gigs above and rather annoyingly am away for the ones I can get to - am sure I`ll catch you guys at some point tho, I`ll make it a mission on which I have to succeed.

The Melkweg is great, Ian, am sure you`ll enjoy playing there. If you`ve not played Amsterdam before a tip is don`t get taxis, they`re hideously expensive, and the public transport both to and from the airport is very good/cheap.

Now that`s a coincidence, my previous faves were Rotosound steel rounds. Tone-wise really not much in it at all, when completely new maybe the Rotos were a tad brighter, but as us long-term Roto users know that doesn`t hang around for long at all. Under the fingers the Warwicks are slightly coarser than the Rotos if that can be believed, took a couple of weeks for my fingertips on my fretting hand to get used to them. But it`s the life of them, I used to get 3, maybe 4 weeks out of a set of Rotos as I need the fresh twangy sound, whereas the Warwicks are lasting me about 2 months, and this has been through the summer with the hot weather and sweaty gigs that come with it. They`re really good for the punk/Oi type material, get a nice twangy grind from them, like I say not much different to Rotos really.

Either the Ampeg BA108 or Fender Rumble 15 will be more than enough for home use, I`ve had both and never used either of them at anywhere near full volume when playing along to music on my stereo/pc/tv.

Many of the punk bands on the scene have only one, maybe two of the original members. To me I`ve always thought that once there are no originals left at that point question keeping the name but even then that can be argued against. You could have a band where one original member leaves after a year, replacement does 14 years in the band, if the other originals leave it`s not like he hasn`t served his time and possibly entitled to carry on. The thing that cracks me up is the amount of bands that formed in 1977 as part of the punk explosion, split in probably 1979, then reformed in say 2015, and are saying they`ve been going for 40 years. Well not really, unless they`re like bears and been on extended hibernation.

Warwick Red Label steel rounds. Sound great and if I buy 5 or 6 sets at a time work out to less than a tenner a set including delivery. And they last about twice as long as my previous faves.

A low-cost solution would be to add in a Behringer BDI21 as Markbass amps are pretty clean sounding, and the BB2 incredibly so. Rather than change a whole lot of kit popping in an eq/DI pedal will still give the benefits of a loud, portable rig, but the addition of the old-school warmth, Behringer the cost-effective way, DHA VT1 or Tech21 VT more costly. The added benefit is then if you ever need to use someone elses rig you have a way of getting your sound to that rig via the eq/DI pedal.

And to be honest it would make sense, having the bassier response on the thinner strings, even out the sound a bit maybe.

Congrats, there certainly is life after 50, I`ve achieved more (musically) in my 50s that I ever did before. Got a gig in Munich at the weekend, flying there, flying back, never had those opportunities in anything i did previously.

That`s a very good point, and given the love that was around for the Bass Terror think Orange have made a sensible move bringing it back.

I can`t do that pesky Instagram stuff, pop a link on here please, Dan.

I`d just get the same again, I know what works for my current needs so no point trying with other stuff. If funds were limited I`d probably save a few quid by getting Vintage V4 Precisions but if unlimited funds, exactly the same again.

That all looks like a pretty decent, sensible backline to me. I`m pretty prehistoric, like to see amps etc, but I think that is the perfect blend - well certainly visually anyway.

I had similar when I dealt with them, bought a set of tuners and the bushes were slightly too small. I made an enquiry as to how much a new set would be and they said no charge, just posted them out.

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.