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Why is it you don’t hear much about these amps ? Have they been a flop ?

I would also add that having some video and an online presence helps. Don't underestimate live stuff on YouTube. A promoter I know that used to book bands for the non-main stage pub circuit at big blues festivals makes sure that he watches the first video that comes up on YouTube. He says all he wants to know if the band can play, can get an audience and can play to that audience!

The actual build of this bass (together with one other bass) was done during my summer vacation of 4 weeks. But the finishing process (of endless building up and sanding) took another 4 weeks. So all in all 8 weeks. I have three more bass guitars planned to build this year. And I am working on the finish of the other bass that I built this summer. I hope to close that off in two weeks from now.

Thanks. For the heck of it I just emailed Ashdown to see what Dave says. I'm really more concerned about the seller not taking it back if turns out to be an issue. I did mention that valve no valve or EQ changes affect it. Whatever Ahsdown says may likely confirm your thought about the valve, or provide basis that it may be more than that (as much as can be known without listening to it), and assure the seller something is a bit off.

I saw Men I Trust in London in 2024 - the bass really stood out in the live mix.

Hi IEM pals, been losing myself in this thread and various YouTube rabbit holes so wanted to ask for some help. Apologies in advance if this is the wrong thread! Context: - 4 piece loud heavy metal band (Vox, guitar, bass&vox, drums) - 3 of us on IEMs (Vox, bass, drummer), guitarist is a refusenik (doesn't like the isolation and I think hasn't experienced what they can be like when mixed and fitted well) - no click or backing track but we do have a few drummer-triggered samples - We play a mix of pub gigs, toilet venues and the occasional bigger 'proper' venue as support. Big variance on what there'll be in terms of PA and I don't trust many of the engineers we're working with briefly to do a great job on monitoring vs. FoH - have had some pretty shit experiences to date. Gear: We currently have 3 LD Systems MEi-1000s running on their own frequencies in a 4u rack. At shows with sound checks we ask the FoH engineer to run through our individual mixes. This has had mixed results depending on the engineer and ability to get a decent soundcheck. I have been loaned an RCF M18 mixer to experiment with from a successful band who've outgrown their setup. The Problem: 1. Our singer INSISTS on IEMs for his vocals and doesn't really need much else in their ears so doesn't care about their personal mix much. Also a luddite so the prospect of mixers etc. as part of our load-out really stresses them out. Doesn't understand how we'd do our own mixes and control them ourselves. one look at the RCF was met with 'what the f**k are supposed to do with all of those inputs'. 2. I don't like using mine because it's been really hard to get a decent mix in that brief sound check window that we sometimes get, same for drummer really. This is a source of tension and I think as a rhythm section we're trying to choose between not hearing stuff well vs. hearing the wrong things in a weird mix. 3. Changeovers are 15-20 minutes and we're often mid-bill so having extra things to set up beyond our own instruments is stressful, often with just a line-check. The Solution: I'm aware we need some kind of patchbay and splitter setup to work with to add to the mixer, but I'm at a loss as to where to start and how to get it all working properly so we could use it at a gig. I've watched a few videos where the cost has been prohibitive, the rack is huge and full of Kempers etc. and I just glaze over a bit. We're an amps band still with a pretty loud stage - a lot of the venues we play don't work for quieter stages and we've seen other bands try and do this and it hasn't worked. Not to say I don't want to get there eventually but getting the monitoring issue solved is first priority before we start heading down the silent(er) stage route. Any examples would be hugely appreciated on how you've solved this issue and come up with something that's made the sound people happy as well as band members without a ton of over-engineering would be brilliant. The longer we put off solving it the less we'll enjoy performing and the bigger venue stuff especially could be way cooler if we know what we're doing. I'm keen to upskill in this area anyway since it's changed so much since the earlier 2000s when I was gigging a lot and we were all futzing around with wedges and being deaf. Thanks pals!

I actually saw it. I’m still think about it. I think the seller wants 125 which makes a new genzler 75 more. Man I hate decisions lol

I didn’t even realise you sent this. My apologies. I don’t know what a COT-50 is. I’ll look into it and the earthquake devices blames. Man trying to find a genzler 4 on the floor used is near impossible lol.

@Mickeyboro I am ashamed to say I don't know the name of your band. I'd love to come and see you guys play. I should also have pointed out that we do about 50% original material in our set.

Yep there’s a careful technique getting them out ( a pick sometimes works ) I gave some spares I think, Ashdown sent them and they are happy for users to swop valves etc and it doesn’t affect your warranty

Thanks. Yes, I'm wondering about that. It would make for an easy fix. I have newer JJ in my 500 and an Eden in a box. I may try the Eden (which was quite), before contacting seller or Ashdown to rule it out. Yet as I think about it, I don't want any indication of me opening the head up as they may not take it back if I choose due to the hiss becoming more than I want to listen to. Those screw covers may not look perfect after prying them out.

My banjoist step-daughter's band (Blue Lass) played Didmarton on the Friday night, but I haven't seen any reports / photos / videos yet. Looks like a nice event.

This is all good. If you’re charging a premium over parts, what exactly is the buyer getting? Dads concept of finding a USP is a good one!

Mmm, that’s never stopped me 🙂

It's just if that number changes cos someone leaves you're knackered. Band email, website and socials are all definitely, obvs Agree on gloss lam. The soft touch Matt lam is a no-no too imo

Lightweight would be a sellable USP across all models from lefties to custom shapes 👍

You are very welcome. I am using a 1987 Fender Japan 62RI Jazz Bass with Bartolini pickups and fretless Ebony board. I bought it new and it is the best sounding bass I have owned. It just sings and it beautiful to play. It is very beaten up as it has done thousands of gigs but has so much mojo. Its the one bass that will never leave me As for the Warwick head, I'll check tonight and let you know. Its not something I've noticed and its the one head that has blown me away and I've stuck with. I've even considered replacing the Little Mark IV with the V2 of the 600w head, thats how impressed I've been with it but the Little Mark does do a really good job.

Wouldn't the phone number already be on the card? We print 1000's of laminated cards every week. In fact ive never printed one without contact details on it. Still, if it's unlamented you could, as you say, still write on it. Agree about the stock though. 400gsm is perfect. Hate gloss lam with a passion. Looks cheap.

I've tried lots of string brands over the years. Here are some of my experiences off the top of my head, if they are of any use to any one. I didn't include stuff I don't remember any more or are discontinued. Also to note, unlike a lot of flat players I change string sets when they wear out. In no particular order: Sadowsky - best strings over all in both sound and how long they last, but expensive Thomastik-Infeld Jazz Nickel - the most comfortable to play and sound great, long lasting but when they die they really die La Bella Deep Talkin' - sounded great on the hollow bodies but a bit muddy on the solid body, but I replaced them with... Pyramid Gold - my hollow/semi-hollows are strung with these, very long-lasting but also expensive Rotosound Jazz 77 - the closest flat I've found to a round wound twang and treble, stiffest tension but worth it if you want the sound without the grinding and fret noise Rotosound Tru Bass - tapewound but sound like flats, surprisingly bouncy sound on a P-bass D'Addario Chromes - deep bouncy sound but wear out too quickly GHS Brite Flats - nothing special