Lozz196

Re Tonehammer query, I previously used one prior to Ashdown, with a Sansamp. to beef it up. I found I could pretty much get the the sound of the TH & Sansamp from the RM500 in its own (and of course from the ABM too). The RM does a very good ABM impression, in pubs & smaller venues/rehearsal rooms difficult to tell apart, but once you get on the bigger stages the ABM comes into its own, carrying the weight of the sound better.

Yes, they do have them on the top, if your eyesight isn’t dreadfully middle-aged, or you don’t play very brightly lit stages you shouldn’t have any problems.

I’ve no experience of the Darkglass but the Tonehammer is great if wanting a warm, vintagey, valley sound. Due to the immense hike in volume if you apply the AGS it’s not really any good to use as a 2 channel pedal but you could set a great eq sound from the TH then add in the DG for drive, or do the opposite depending on which pedals tone you prefer as your always on eq/sound.

Was that a Kay EB-0 copy Ian? I had one of those, action about half an inch high, certainly made me appreciate a good instrument once I got hold of one.

The only thing that put me off of mine was no fret markers on the board itself, other than that they’re great basses. I did a Duff and put a Seymour Duncan Hot Stack in the bridge, hum-cancelling plus a lot fuller sounding. I’ve recently been thinking about getting one again.....

You can buy the foam from places like Amazon, make sure you search for the stuff advertised for use under pickups, as you’ve noticed it’s denser/firmer than regular foam.

The MIM Classic 50s is a very good instrument so if these Vinteras top them then they must be incredibly good.

I have to admit that in a live band mix I think that flats can really work - I just can’t manage it myself though. Totally the wrong sound for my current venture, but I’ve been playing rounds for so long now flats played by me just sound wrong to me, pretty much like Stingrays, everyone else makes them sound great.

1 & 2 for me, which leads into 5.

Sounds great, I’ll def keep those in mind, especially for backup basses

That’s interesting, though the post mentions two pickups, Kent Armstrong Hot Vintage and Dimarzio Area P -which one is the one you tried?

Ah, I was hoping for a reply of “Get your trousers on son, you’re nicked”. in all seriousness it does look a plan though, I went there a few years back and managed to spend some good time checking all sorts of goodies out.

Been watching the daily reruns of The Sweeney have we?

When I was a young lad there was a song in the charts (Seasons in The Sun, by Terry Jacks) that had this sound that I liked, didn’t know what the sound was but listened out for it in other songs. Fast forward a few years I found out it was the bass, and at that time, when punk was at its height, the cooled - imo - people in the bands were the bassists. So the sound I liked was played by the cool people, good enough for me.

Probably that to date I’ve never had a drummer say they can’t work with me. Of course I’m proud of the material I’ve contributed to writing and of the reviews we’ve had for both that material and live performances but you have to be able to gel with the drummer first and foremost. Am particularly proud of the fact that the best drummer I ever played with said that my bass playing made his job easier.