Lozz196

Makes a lot of sense. Especially to their chiropractor. But seriously, they obviously put a lot of thought into both sound and image, fair play to them.

They look great, I’ll bet they sound even better!

Is there a more pointless job in the world than being the man who installs them?

The Vintage Tony Butler Precision that I had was really not that far away in quality/playability/sound from my Fender US Precisions. If I weren’t such a “I have to play US Fenders” person a couple of the TBs would be more than sufficient for my gigging needs. But at the end of the day I just simply prefer my Fenders, I’ve found the specific range that just suits me perfectly, the 2013-16 US Standards. I get so much more enjoyment playing the maple fretboard versions of this range than any other basses.

Def need/want as @Paul S says. I want - and have - Fender US Precisions, but my needs would easily be fulfilled by Squier Classic Vibe Precisions. But the “it’s just a lump of wood”, well that could be considered a bit demeaning towards those that make the instruments.

I’m rather partial to this as well

Having had two of the Barefaced Super 12s I can def confirm that.

Definitely Mark, I’ve had a lot of Markbass gear, no problems with any of it.

Yep for small/lightweight with warm lows for reggae the Ashdown RM amps have to be in there. That said having used the Peavey MiniMega last week at rehearsal, that amp has some kind of control on it that "fools the mind" into believing that the lows are much greater than what they really are, so given your love for the Firebass, @Marcus Cornall it may be worth checking a MiniMega, being made by the same company.

Agree @pbasspecial, the most successful band I`ve ever been in happened between 48 & 54 for me, street-punk/Oi band doing festivals, touring overseas, one off flying gigs in Europe, providing the body can cope age is just a number.

Department S, of course, played with them a few times.

Great poster, who`s the guy on the right, pretty sure I know him form somewhere

I read threads such as these and thank my lucky stars that I use Ashdown amps

As well as the gear you’ve mentioned keeping I’d also keep hold of the Sansamp, just as an in case you ever need it pedal, always worth having a preamp/DI around.

Fortunately for those local enough the Northampton branch still has the same area/amount of stock as ever.

I could deal with that law

A band I toured with years ago used a Marshall guitar head for their bass, not sure about the cab but it sounded great.

Yep, for me in my last band the bass sound, which included some gain/drive, was an integral part of the bands sound so to us it was essential to have it constant, hence the preamp - not all amps could do that sound, some couldn’t get anywhere near. Whereas in my current band the bass is being a - what I call proper - bass so I’m less precious about the sound, I can get what I need from pretty much most amps. And if I have to use my own amp I’ve found that my Ashdown RM500 seems to suit the band better than my ABM600.

In my last band most of the gigs were with provided rigs or gear shares, I rarely used my own amp. So I decided that it was best to get my sound from a preamp so I could get it, and most importantly send it to FOH at every gig.

The radio was always on at home so until I started to find my own musical direction it was the charts from early 70s onwards, however I class the music I grew up to as a teenager to be Punk, New Wave, 2 Tone and New Romantic.

@DGBass, your description of how your bass is felt not heard is great, I used to love going to see bands where the bassist had a sound like that.

At the volume our drummer (or is that caffeine fuelled chimp maybe) plays there’s no-one on Earth that could hear the fan. In fact I think a 747 could take off and we wouldn’t hear it.

I’ve found that as well, get a sound I’m not that keen on onstage seems to translate out front to what I want.