Lozz196

I think some of that might be the difference between Class A/B/whichever of the Ashdown and Class D of the Ampeg. That elusive “heft” which makes an amp seem louder, with its greater depth & presence of sound.

That should have been plenty loud, I wonder if there might be a problem with it. My first PF500 I had the Input Gain on about 2pm, volume generally 10 or 11pm, these settings didn’t really change irrespective of cabs, and they were gig settings.

It will work fine, just a matter of choice re the sound, seems the ‘tubers prefer the 12, whereas you might hear the 15 and vastly prefer it.

Looks great, a real 70s vibe to it

I’ve never got nervous before a gig. I figure this is down to having enough rehearsals for the material rather than my state of mind. I’m sure if I were to be in a position of having to wing it I’d suffer nerves as well.

Remember to not be upset because the singer & guitarist get all the attention, if you wanted that you chose the wrong instrument (assuming it’s all bassists reading this).

That`s a shame, I have read that some find the PFs to be underpowered, just shows that the ABM really has that power to keep pushing tho

As I confirmed Fender US fan-boi I can state that although I find the US instruments to invariably be better than Squiers & Mex Fenders I don’t think the price tag new is realistic or reflective of the difference in quality. I had a Squier VM77 Jazz and whilst my US Professional Jazz was better was it actually 4 times better? Probably not.

I’d say always use the instrument you feel most comfortable with, and which you know how you can shape its sound the best. I flirted with a Jazz bass last year, but in a band mix I was nowhere near as familiar with how to get it to sit in the mix as I am with a Precision. Similarly whilst playing I’m so tuned to my Precisions that the Jazz in my hands wasn’t where I’m used to hearing the bass. So lesson learned, although I like Jazzes ultimately I realised, just take a Precision is what works for me, the instrument I’m most comfortable and connected with.

I just checked the number, came up as unrecognised

I know, I`m very pleased so far with my SCR-DI, it`s the exact sound I want, only downside is it`s a bit big/weighty so having had a play I can get almost there with my Sansamp, but the Ampeg sound just blends into the mix so well.

Where is the Horrified Icon when it`s needed?

I had Ashdown change the drivers in my RM210s to Eminence - I think - Betas. Really made a (good) difference.

Good point, yes I think you’re right. I was still wary of it tho, bolt-ons just seem to ease my mind for some reason.

Although I had a Gibson Les Paul bass for a while I’ve always been a bit wary of neck through basses in case they get snapped/broken. Probably more indicative of the gigs I used to do than any short-comings of the instruments themselves.

I had an amp & 2 cabs up at £800 Got a message asking if I’d accept £400 Yes, twice was my reply An indefinite period of silence followed

That is my only concern Dan, it’s a large and weighty beast but luckily I’ve had a tinker around this morning and can pretty much get the same sound from my Sansamp BDDI v2, so I’ll use the SCR-DI at home and the Sansamp for gigs. A real ear opener for me though, for years I’ve been all about the Sansamp sound whereas it seems I’m now more about a more natural amp sound.

The newer Fenders, the Professional II have the cutaway as per the Elite series. It’s never concerned me but I can see why some would prefer this.

Ashdown ABM PRO NEOs They do an angled 210, a 112 and a 115. Nice and light/portable.

It is a very cool looking bass

Have you seen the Phil X version of My Sharona, just awesome, I learned to play it along to this version.

Guns N Roses As a punk at the time they were far too bluesy for me, same with AC/DC. I now look back at my stupidity and shudder.

Great amps, I tried one at Ashdown HQ and if I hadn`t already had an ABM600 (which the HOD is very similar to) I`d have bought it there & then. I love how the two level indicators look like eyes.

The Great Rock n Roll Swindle featuring The Sex Pistols would have been a great film if they`d just had clips of the band playing and being interviewed and not the silly "I did everything, it was me, not the others" McLaren storyline.

Yep, being good enough to gig includes being good enough to carry on when you - or another band member - makes a mistake, rather than just stopping or the song falling apart. Because mistakes are inevitable, it’s how you deal with them that counts.