Lozz196

Well I`ve used a few, and to me if all the settings at midday are too bassy, cut bass rather than add mids or highs, as these make clank more audible. But I think it mainly boils down to the cab height, and that the same settings on the same amp on a 410 or 115, well the highs don`t reach your lugs as well, but your knees get all the benefit.

I honestly thought that Noel Gallaghers son was a cover, it sounded so familiar. Really surprised that`s one of his own.

I`ve no idea what it was but my mates Dad gave me an old radio/amp/thingy that I used to play through. Connected to a couple of very odd looking wedge speakers it had a rather nice sound as it was valved, so broke up when pushed.

I`m pretty much there, US Fender Standard Precision 2015 (two of). Both have maple necks so ideally I`d like one of this range with a rosewood neck. Ummed and ahhed about a white one on evilbay last night and missed it, doh! Don`t need one, but would like one, can`t make up my mind whether white in keeping with the punk tradition, or sunburst a la Motown look.

Yeah, there is that I suppose, but when I say more modern sounding on the 08 range its not super hi-fi modern, just less middy and with a slightly sharper top end, def not a reason to veto the 08s, they`re great basses, don`t need a pickup swap at all, that`s just my personal preference.

The 2008 - 11 are good basses, but imo the 2012 - 16 are better. The neck is chunkier, and the Custom Shop Pickups are much more vintagey voiced in comparison to the more modern sounding 08 - 11s. Both are finished very well, and are incredibly nice basses to play. If thinner neck but vintagey is your thing get an 08 - 11 and the Custom Shop 62 pickups, sorted.

The best thing about the MIJ/CIJ Fenders are the necks, they are superb, really really comfortable to play. The only possible downside I find to the MIJ/CIJs is some are made of basswood, and I`ve found when I`ve had basswood bodied basses that at higher volumes the grunt doesn`t seem to be there in comparison to alder bodied basses. Difficult to describe really, but when you dig in there doesn`t seem to be much more that is given from the bass - which thinking about it, given my heavy handed way of playing should actually be a bonus, a kind of on-board compression.

The ABM1000 is a very decent amp. If it wasn`t that I use so many provided cabs, many of which aren`t powerful enough to handle it, I`d keep mine, but invariably the cabs I plug into are 300 watts at 8ohms or 600 watts at 4ohms, and I don`t want to take the risk. So I`m offloading, which is a great shame. In an ideal world I`d keep it, but have decided anything I don`t need is on its way (once I post the ads of course).

Mick, you have to get one of those to go with your new mini Elf amp

They`re eq`d slightly different, bass frequencies lower on ABM (60/65 v 100 I think), and the sliders on the ABM are at different mid-frequencies than the hi/low mid turnable ones on the MAG as well. But unset the pre-shape, and have all eqs at midday, well I`ve not heard much difference, though this is from stage use only, I`ll get to use my own MAG 600 tomorrow for the first time, so will have a better idea then.

As a committed P-bass man of more than 40 years, I have a long-standing love/hate relationship with Jazz basses. I like how they look (mostly), I like how they sound (sort of) and I like how they play (up to a point). And yet… when I don’t have one I want one, and when I have one, I’m always looking to move it on… WHY?? Mark, these could be words uttered by me as well, and I`m yet to work it out. I`ve had some great Jazz basses but always moved them on.

Best purchase - Tech21 Sansamp Para Driver Worst purchase - none So why am I selling so much then, easy, I`ve just gone mad and over-bought, realised this as my spare room is now much smaller than before, so selling off pretty much all that I don`t need. Edit - Purchase found to be be unsuitable - a double gig bag that made me realise I`m a weakling as I stuggled to carry it once loaded with 2 Precisions. Bah!

Yep, I`ve been happy with all the different Ashdowns I`ve had, currently an ABM EVO IV 600 and MAG EVO II 600. The Rootmasters are excellent if wanting to go lightweight/small. At higher volume on bigger stages the ABM has more to it, but for regular pub sized venues the RM500 is plenty enough.

Used one of these last night, through a Markbass 410 cab. I used to have an OTB, but had forgotten how insanely powerful they are. Ok, I needed my Sansamp Para Driver for my eq, no different to using any other amp really, and had to back off completely on the bass on the OTB, but, well I was pretty impressed. In a regular sized pub I had volume & gain on 2, for on-stage sound the bass fully off, and mids treble at about 1 o`clock - the Para Driver eq went straight to FOH. And the other bands that used it, with a variety of basses, well they all sounded good, basses used were Precision, Thunderbird, Rickenbacker Cheyenne, all worked well - to me the guy that put the Precision through it sounded the best, no surprises there I hear you say, but he got the eq sounding full without being boomy, and with a good top-end edge to it.

Well for that music I`d use the power & grunt of the Precision through the OTB500, with the Gain set to about 9 o`clock, and then use the B3 to eq in/out whatever is required. To cut through you need a lot more treble than sounds nice on its own, and more than sounds like it`s cutting through when you`re right next to the amp - try walking 15 feet in front of the amp as a tryout, you`ll find a lot more treble is needed than when you`re right on top of it. On the B3 get your graphic to cut mids around 350 - 400Hz, and boost them at around 2.5 - 3.5kHz, plus add in highs at around 4 - 5kHz.

I really wish that the Subharmonic Generator was switchable between lows & highs. I find that adding an octave below is too mushy, but being able to add in an octave higher, but just slightly, would be a very useful addition especially in a 3-piece during guitar solos.

Just got back from a 9 band all-day gig in Kent (Isle of Sheppey). We got there at 5:45ish, so saw 5 of the other bands. Was good, all bands played well. The provided rig was an Orange Terror into a Markbass 410. A variety of different basses used over the evening, including a Thunderbird, Precision and Rickenbacker Cheyenne, all sounded great through the rig. Only downside imo was that for some reason the bass was DI`d, the drums were miked, but the guitars weren`t, so every band was guitar-deficient. That was the way the soundman ran it, and the promoter and landlord were happy with it like that, so not for me to complain, just seemed a tad strange. But re the playing, well we did our usual thing, and people enjoyed it, first time we`ve been down that way and a few people mentioned that they were glad we`d finally made it to that area, and afterwards still expressed they were glad, which was nice.

[quote name='Lozz196' timestamp='1509185299' post='3397177'] I can only assume last night involved both legal and illegal substances, based upon that dream. [/quote] [quote name='SH73' timestamp='1509187082' post='3397194'] I don't mind the fella and i don't do drugs either. I think this dream is to do with my desire to play music on stage. But Simon Cowell...wtf [/quote] Well in that case I reckon you need to start, lol

Doesn`t really mean that much on the originals punk circuit, but in the town which I live, on a Sunday they close off The Old Town and do a fun day on the Sunday either before or after, and combine it with fireworks for Guy Fawkes. It`s a pretty decent family oriented day/event.

I can only assume last night involved both legal and illegal substances, based upon that dream.

It may be that the rest of the band never considered this new direction, but have gone with it once raised by said new guy and found they quite like it, change being as good as a rest. I do think that the point about if you`ve worked to get an audience it`s something to be concerned about though, audiences can be fickle.

I reckon Adam Clayton is secretly able to take Mark King/Victor Wootten etc, but sits at home secure in that knowledge whilst reading these posts and giggling hysterically.

I`d look for the highest power as possible, not to go really loud, just so that you don`t end up with a PA that squeals feedback as soon as you get the vox loud enough. Nothing worse than a band where you can`t hardly hear the singer.

That is a lot of bass for the money there, someones gonna get a bargain