Lozz196

He/she will frighten off most I reckon, a very angry looking cat you have there Tim.

Agree re bright and defined. As a previous Rotosound user I used to get 1 month from Rotos, I average 2 - 3 months on Warwick Reds, depending on how hot & sweaty the gis are.

Well I used my Vintage Tony Butler Sig V4 this eve with the band for the first time and to say I`m pleased would be an understatement. I`d expected it to be ok, but it by far surpasses that. So much so that not only will I keep it as a backup as originally intended I`m going to use it on gigs where we fly, to save flying with a US Precision. Now I wouldn`t do that/gig with a bass I wasn`t comfortable with, I`d prefer to fly with the more expensive one and take the risk, but this eve has shown me that the V4 is more than suitable for my needs. Playability is great, and the sound is spot-on what I want.

That happened to a band I was in a while back, new owner, no promotion for the gig, halfway through the set offered us a £100 to stop and go home.

They`re great, protect guitars, double up as stands on stage etc, for regularly touring bands I`d say they`re a must. We only tour once a year at present but if that changes we may well look at one of these.

Ashdown Little B`stard, or CTM - when I used one - can`t remember which one tho - I was knocked out by how good the sound was. Available at 15 or 30 watts I think.

The Rumbles get a lot of love, as do Markbass. I think it depends on the sound you`re after, if you want any kind of gain/drive then Markbass doesn`t do that, so that`s one area to consider.

Looks great, well done sir!

Well the 212 NEO gets a lot of praise over on Talkbass, and will be a lot easier to move about - those RBH cabs are great but rather unwieldy due to shape and weight. A bit of Talkbass research would be worth doing I reckon.

There`s no specific sound to the size of drivers, but many voice their cabs to have different sounds, and different ranges will also have different characteristics. There`s nothing like hearing a piece of equipment for yourself, so I`d try the 410 first, if you like it go for it.

This. You love the sound and portability of the CMD121P, then adding the NY121 cab doubles up on the sound, makes it much fuller, and the portability is still there. I find that with swapping rigs it`s best to do it when the sound from the current one isn`t getting what you require - in this case you have what you require sound-wise, you just need more of it. As another previous user of CMD/NY rigs adding in that extra cab makes for a pretty startling change to the size/amount of sound available.

That were me if I recall correctly, Rich, and yes, very decent strings indeed.

We always play on multi-band bills so usually it`s a case of plugging in amp-heads to existing cabs, then connecting instruments/pedals etc, drummer usually swapping snare, kick-pedal, cymbals, sometimes stands. You`d be amazed at how many people aren`t efficient at this, but then the copious amounts of lager that they`ve drunk may have something to do with it. We can do all of the setting up and level check everything in 15mins or so.

We must be related, as I do the same. I also duplicate this process with Jazz basses.

Don`t look at the Tony Butler Sig Precision, Liam, it`s a cricket-bat-chunker of a neck. Which is nice (imo).

Yeah I`ve heard bands do Slither by Velvet Revolver/By The Way by Chillies and try and do the low notes an octave higher and it destroys the songs - although I`m a committed 4-string player I do accept that if I ever get to the point where I need those low notes then a fiver will be on its way to Chez Lozz, no playing an octave higher for me.

Probably the most/best publicity TC have had in a long while, put them back on the radar I`d reckon. And @0175westwood29 fully agree, some of the lyrical content I`ve heard in rap when it`s on at work - the younglings seem to like it - would deserve better attention from those getting the hump about the name of an effects pedal.

They were a band me and my mates liked back in the 80s. Aside from Blister in The Sun I couldn`t name any of their other material but in that long hot summer - or so it seemed at the time - of 86, the VFs were always on one of our car stereos.

I can`t remember who it was but someone on here put that they started with Reds, went on to try Blacks and found that they preferred the Reds.

Do a search for Herrick Pickups, they`re very good and Martin is a member on here as well.

I`ve found in the past that swapping a regular Fender BBOT for either a Gotoh or Badass on my Precisions has somehow "tightened" the sound a tad, and lost some mids. Nothing that I`d ever hear at band volumes but at home practice levels it was noticeable. A bit like the strings suddenly sounded a bit newer is the easiest way to describe it.

I`ve swapped from Roto steel rounds to Warwick Red Label rounds and yes, I get about 2+ months out of them, rather than the up to a month on the Rotos. They sound very similar as well, and that`s the killer for me.

I`d look at the Ashdown RM range - the amps are great, def the best class D amps I`ve used. The cabs are nice too, light, sound very nice and the 1x12s are about the same sort of size as the NY121s. The 2x10 & 1x15 of the RM range are bigger but not that much. Plenty to choose from and the RM range packs a punch. And to top it all off very reasonably priced as well.

Yeah I`ve always been a tad suspicious of bands that seem to play really old hollow-body guitars etc in their vids, when the sound would suggest something rather more modern had been used on the recording.

I have the ABM 600 EVO IV and it`s the best amp I`ve ever had. Admittedly I get all my eq from my Para Driver but that`s due to me using many provided/shared rigs, but I can get the Para Driver sound from the ABM easily. It has power to spare, and with the compression, drive, and 9-band eq is probably the most flexible amp I`ve ever had. And as per @Mudpups post, when your on a big stage and have to turn it up it doesn`t get lost, the bulkiness and weight of the sound are still there.