Lozz196

Ashdown gear is strange, in isolation it just sounds ok, but it`s in the mix where it comes alive, just seems to sit in the right place. Pretty much the same with Ampeg imo. Plus I think it also depends on type of bass being used as well, to me Ashdown seems to suit passive basses like Precisons/Jazzes better, I can certainly see how GK fits with your Stingray nicely @thisisswanbon

Markbass and Barefaced are a good match imo, far prefer MB heads with BF cabs than with MB cabs.

I`m not sure, but I`ve found that I prefer sealed cabs, I think we have similar tastes in sound, I recently had my ported 410 sealed and the sound is soooo much more what I want. The suggestion of the Barefaced 610 as made by others above is a good one, unless you need really shrill modern highs it will more than likely do the job and is easy to cart about. There is also the option of theier 410 and 210 together - these are a doddle to move about and then there`s the option of just using the 410 at rehearsals, adding in the 210 for gigs for the stack-approach.

This probably shows how prehistoric we are in my band, but we both rehearse and write new material at gig volume levels. Everything to us is about the live performance, so we don`t want to rehearse in one way, then gig another. Similarly with the new material we need to know how it will sound at gig volumes, no good having a great quiet song in the punk world, which translates to a rotten noisy one (although thinking about it.......).

I know there will be recommendations that this or that 212 will outperform a 610, but I`m yet to have the experience of one that does. Sure they`ll go loud, most possibly louder, but that huge all enveloping sound you get from a 610 imo is due to the amount of speakers all going together. Again I reckon that there will be disputes on that based on science/technology/efficiency etc, but I know that of the high-end 212s I've had they didn`t give that same all enveloping sound. However they did deliver on the low-end punch, no loss of that - they were Neos as well.

I`ve not got the Facebook/online details as am not a Facebooker, but do a look up for STP. Stu is a great guy, puts on bands oop north, and his shows are very good, he looks after the bands too, plus punk is his thing. We`ve done gigs for him at a good few venues, Manchester, Wakefield, Nottingham, Morecambe etc.

That is def one of the nicest Precision sounds I`ve heard. Was really impressed with it on the other thread too.

Ashdown are on here, send them a message, they should be able to advise: @Ashdown Engineering

It is a problem, and in one respect I think Jack has it nailed with his description. The only possible downside is then when everything is loud at gigs people might find themselves a bit lost but if you`ve put in sufficient practice at reasonable levels then this shouldn`t be an issue. We however only rehearse and write at gig volumes, but that`s cos we`re punk (for that read stoopid).

Yep, we`ve been together for almost 5 years now, have released 3 albums, 3 eps/singles, played festivals, done overseas gigs/tours, and it`s all still incredibly good fun. I think a lot of it is to do with age, similarly we are all 40s/50s with no illusions of being stars. As such with the ego malarkey out of the way this is the most successful any of us have ever been, probably due to it being a hobby, albeit a very time-consuming one, and primarily done for fun/the love of it. We don`t take any money from the band, it all goes back in to the pot to pay for recording, flights, ferries, hotels, more merch etc. This coming week we`ll rehearse Mon, then got gigs on Tue/Wed/Thu in Bristol, Manchester and London respectively. Later on this month we have another 3 gigs in 3 days, Stockton On Tees, Edinburgh & Doncaster. That`s off the back of releasing an EP at the start of this month, at The Rebellion Festival in Blackpool. Were I to be in my 20s doing this I don`t think I would have appreciated it at all, probably would have just got riotously drunk at all the gigs (which is what I did in fact do at the smaller gigs I did back then) whereas I realise now that I`m incredibly fortunate to have my hobby enabling me to do all of the above. I reckon being able to do all of this in my 50s has made me appreciate it all the more.

The Liquid Room, with Dirt Box Disco

Well my main gigging bass is a 2015 US Precision, and I`ve found that that series are the best ones for me, so I have four of them, as such it`s unlikely I would trade in for anything different as simple-tastes me has already found the ideal.

There would maybe be a tone difference to having two seperate cabs which are more than likely voiced differently, though I`m sure with the flexibility of the eq on the ABM600 you could easily get the same sound as the 410 as with the 210/115. I`m not sure about volume/power - I`m yet to have to push the amp for volume on some pretty big stages when connected to the 410. I`ve also had it connected to two 115s and there wasn`t much difference in my regular settings.

That would be my first port of call too, for that reason.

Yep ABM all the way - in pub sized venues you might not notice too much of a difference but on a bigger stage at higher volumes the ABM shines through. Plus all ABM amps from what I understand are built so that they can be fixed/serviced by Ashdown, who are here in the UK, and who offer excellent customer service. I should add after that that I`m not affiliated with Ashdown in any way other than using their excellent products.