Lozz196

Well aside from being 52, the above is pretty much it for me. The fool bit is particularly relevant to me

The guy I dealt with recommended that I do this on my cab, said it would really tighten things up. I`ve used the cab this eve and it sounds great though, so coupling this with my natural laziness means I`m holding off on damping the cab at present, think it was Dacron he advised to use?

That`s it for me Dave, never know what amp I`m using, so keep settings on my Para Driver as standard to FOH, amp eq to suit on-stage. I`ll update on this later on, got a prac this eve so going to give it a tryout.

Inline for me - going to try via FX Return at some point just to see, but most of my gigs are with provided rigs so for ease of use and standardising, always inline, makes it easier.

I think you`re on to something there Bill. I`d always loved the punchiness of the ABM610 & 810 when I used them, wondered why the 410 didn`t have the same sound, but last week was told that both the 610 & 810 are sealed - and the blurb on the site seems to indicate that the same speakers are used in all of the cabs.

Cynicism and realism in equal amounts there. Yep, I remember TOTP was THE subject at school on Fridays, and usually determined what your pocket money was going to be spent on.

I`ve recently had the port on my ABM410 closed off. I spoke to Ashdown about what I was after, as the cab seemed too "wampy" and backing off of the bass, although getting there, wasn`t getting as near as I wanted. They suggested closing off the port so last week I stuck a towel in the (front) port. Instantly the sound I want was there, tight and focused, it really made that much difference. Previously, using my Para Driver as my main eq I still had to use the eq on the amp to back off the lows and up the high mids, now I have the eq on it bypassed using only the Para Driver.

Wow, that looks like The Rich Rags from way back in the 90s

Laney gear has always sounded good when I`ve used it, either bass or guitar amps. I had an LC50 guitar amp head and it was immense, really loud, much smoother than a Marshall, worked really well for me as I was the rhythm guitarist in the band so provided a good platform for the spikier sounding Marshall to work over.

That is a pretty stunning collection Steve, and really not helping me with the fact that I currently have 7 Precisions and am desperately trying to convince myself that at least 2 are surplus to requirements (when I really don`t want to offload any).

I really liked Roadhouse, most of the music in that being by The Jeff Healey Band.

That Mesa sounds great in the Bobby Vega demo.

That`s a really nice colour - put tort on there and it`s in Steve Harris territory. I`m confident you`ll be more than happy with it. Like spongebob says, there isn`t a world of difference between the US and MIM - hi-mass bridge, string through body, better tuners and graphite rods in the neck being the main, but as to playability and sound, well the MIMs are much nearer the US than the price difference would suggest.

I remember years ago in my old punk covers band, I bought a cheapie Behringer DC-9 compressor. The guitarist was late as usual so the rest of us were playing, when he stuck his head in and remarked "bought yourself a compressor, Lozz?". He could tell the difference, from outside the room. Whereas the three of us in the room, I`m not sure we could. And I suppose that`s the crux of it, it`s what the listener hears that`s important, and maybe up-close I couldn`t tell the difference but further away I would have. Who knows.

Well our on-stage image (and off, come to think of it) is jeans, Fred Perrys & DMs, pretty much all that`s needed for a street-punk/Oi band. I wouldn`t say that we look like musicians or a band as much as that we look like we`re part of the same group/gang, which is the point imo, a band should like look they belong together.

My fave is the Tech21 Para Driver. It`s similar to the Bass Driver aside from the mids are sweepable, which brings in a great deal of flexibility.

Not sure about the looks matching the sounds, but for very deep lows I`d be looking at a Thunderbird.

I`ve never asked for one, been offered a few times and always taken them. Likewise if anyone asks for a receipt am more than happy to write - ok type - one out.

Fender 7250s, nickel plated steel, 45 - 105. I`m gonna be putting a white/maple one up on here soon, 2014, comes with Hiscox hard case. Just got to take pics and pay my subs for another years selling.........

Ah, the practice of being allowed to celebrate your patron saint without being accused of being racist, a luxury I can only imagine.

Really good imo, the post 2012s are very nice instruments, olay nicely, well put together. I have 2, both Precisions (natch).

I dread to think, tho am offloading a fair bit at present so would rather think about it once it`s all gone, it will be less frightening.

I`ve been a sufferer of this for a while, am now offloading a lot of gear due to it. I still want a Jazz bass, but I know I won`t use it in a band setting so am resisting at present. Most of my GAS is trying to get the exact right set-up, then realising I already had it.The other aspect is buying the same basses but in a different colour scheme, only to find out again that my old faithfull black/black/maples are the ones I feel most comfortable with, so aside from one white one, which is being kept for videos, they`re going too.

Hmm, the science says that cones should be matched and there`s a lot of on-line help - plus Bill F on here is pretty exceptional on this. You can luck out and get good results by just swapping, I have on the times I`ve done it, but I am aware that it could have gone horribly wrong.

That`s a shame, Athens is great, was there a few weeks back, played at Tres, great gig and a great audience, def should be more music shops there.