FinnDave

Thanks, Lozz, I might just have to order another set of LaBella strings, I like the tone of them, just fancied trying something different, but I don't think a scooped sound is what I'm after. Main reason for considering the Rotos is that they have in stock at the local PMT, LaBella means a drive to Leamington Spa or mail order.

Sorry to push this interesting thread back on topic, but having tried and ultimately rejected flats several times over the last 20 years, I finally have got used to them, and currently have two Precisions and two Jazzes, all strung with LaBella flats. I am now waiting for another Precision to be delivered and will almost certainly change the strings to a set of flats once I've had a chance to check the bass over. As I haven't any spare flats at the moment (other than a set of LaBella's I had on an Epiphone Casady for a while) I need to buy a new set. How does the sound of the Rotosound flats compare to the the LaBellas? Having read this thread from start to finish since lunch, I am inclined to opt for a set of 40-100 Rotosound flats, as they are both cheaper than LaBella and much easier to find, as I can pick up a set in Oxford tomorrow.

One of my ABM 500 combos had a bit of a rattle when I first had it - tightened up the four fasteners holding the amp into the case and the rattle disappeared.

I live to play music with other people, and the apex of the experience is playing gigs for people who enjoy what we play. Without gigs, my interest would soon fade away - it was difficult to pick up a bass during the lockdowns as there seemed no point anymore. Band has been revitalised with new drummer, and gigs on the horizon - life is good again.

Sunburst, preferably with a tort plate. (I just hope that my #1 favourite, my white Precision, will forgive me!). To be honest, I only look at the finish when they're hanging on the wall. Don't look at the bass while I'm playing it or carrying it in a case.

A band I was in for a while had a regular gig at the Fiddler's Elbow in Camden, sound crew there were very good, used to take DI from my amp & mix it with a mic in front of my cab, sounded good on stage and out front. The soundman was usually a soundlady, she definitely knew her stuff!

Of course I wouldn't! https://www.katebushencyclopedia.com/myrdal-jay

Used to play with a singer who wanted us to play half a semitone sharp or flat. We just played a semi tone in the right direction and she was none the wiser.

My band's harmonica player is the photographer who shot the cover picture for Kate Bush's first album. Irrelevant, but interesting!

No, to be honest, I can't see that. When I practise at home I use a small headphone amp that has inputs for bass and aux (I use my computer) so I can play along to songs I am learning. The tone of the bass isn't an issue for me when I am simply learning stuff. Do you play in an Oxford based band? We may well have met if you do.

I have no idea whether any of the various Ashdown amps I have or have had have headphone out as I cannot think of any reason to use such a feature.

The bass sounded superb at the Swindon gig last week. Clear, clean, and punchy.

I had a Framus Jazz in the second half of the 70s, it was definitely a cut above the far-eastern Fender copies like Colombus. I think I have a picture of it somewhere, I'll add it if I can find it.

I found Shamal very disappointing after the final part of the trilogy. For me, Gong was over when Daevid left. Mike Howlett's playing on You (Master Builder/ Isle of Everywhere) was just incredible.

That might well be true - I used a Barefaced Super Twin (2x12) for several years with various ABM heads, and it never seemed to sound as good as my ABM combos. Easier to move around, though.

People in bands need to learn to play as part of an ensemble - mindless constant soloing whatever the instrument just makes me think that they've spent years playing along to recordings without actually listening to how the music was put together.

Another way of stopping the amp from shaking itself off the cab would be to apply a couple of drops of cyanoacrylate adhesive (super glue) under each of the amp's feet. This would also ensure that the amp is never left at home or at a gig.

I'm in the process of leaving a band, mostly because of this.

They should be on a musical equivalent of a list of banned offensive weapons.

Drummers who bring a pile of bottles of booze to the gig then drink the lot despite being repeatedly told that he can't do that sort of thing in a pub. Drummers who get drunk and then start chucking their kit about like they're Keith Moon. Guitarists who pop out during the short break between sets and come back 45 mins later because they decided to get something to eat. Guitarists (not the above) who start their solo on the very first beat of the song and don't stop until the song has ended. Likewise harmonica players. Singers who make impassioned (though usually inaudible) speeches about how the next song is close to their heart, always loved it, etc. and then pull out a creased sheet of paper so they can read the lyrics as they sing.

I have both types, but prefer the sound of my Ashdown ABM 500 combos when it is practically use them. When I am playing at low volume levels or at a venue with difficult access (and no one willing to help move my gear), I'll use my class D amps and a single speaker. By the time I've carried an ABM combo up a flight or two of stairs I'm in no state to play for a while!

That's why I always loop my lead through the carrying handle of the amp as well as through the strap.