Lozz196

In one band I was in the drummer spent a good time rehearsing along with a click to iron out any speeding up issues. And then, rather ironically, the songwriter in the band wrote a song that sped up halfway through. Doh!

Comfort Straps or Mono “ The Betty”, both great straps for this.

Those footprints are from The Clangers, even The Master in Dr Who admired them!

I’ve been checking out pickups recently - bear with me on this - and listened to the difference between Fender Custom Shop 62s and Pure Vintage 63s. The 63s have less highs and more low mids and as a result have a more solid/warm sound, so I’d translate this to the eq on the amp, drop some highs a touch and add in some low mids. See the link below for what I mean:

Great amps, the Marshall DBS

Having seen footage of the terrain in Iceland from my mates recent holiday I can see where they might get the idea from, it’s spookily like the lunar surface as seen from the moon landings.

Yes, I think with a Precision, which has buckets of mids, the Preshape works a treat, removes everything that gets in the way of the guitars and adds in some nice highs for definition.

Used them in recording, to reign in drummers who would speed up after rolls etc.

I’ve found that having a way too loud amp but then setting it to the volume of the unamplified drums works a treat. In an old punk covers band the two guitarists had 100watt valve amps with 412s, I had a 400watt amp with a 412. We were never too loud as our drummer played with a light touch, but the depth of the sound was really nice, a full but not over loud sound. We did have a few panicked looks when we turned up to venues the first time but they calmed down when we sound checked.

I’ve always loved that one too, though my ultimate fave is from The Macc Lads She said I were good lookin and I looked I bit like George Michael. But she didn’t want a f*** cos she were on her menstrual cycle.

The Macc Lads always made me laugh, I know in todays world their style might not be flavour of the day but to the 20 year old me I found them hilarious. Sadly not many realised the actual joke - and nearly 40 years later that’s still the case.

That`s me included then 🤣

It doesn’t offend me, and it wouldn’t bother me if it were the other way round, but then I’ve not had years of people taking the pee out of me because of my gender. Maybe if I had it would be different.

I tried to get this done in an old band I was in, the guitarist/PA guy wouldn`t do it, so stressed enormously at each gig as a result. We just left him with the stress.

I had one of those ABM 1000s, Ed, great amps. I did prefer my ABM600 due to the more flexible eq, but the 1000 certainly was a door-slammer.

I must admit in my early years of gigging, late 80s & early 90s, the thought of an amp not working just wasn`t something that was considered. Of course not having enough money for backups was a main factor for in not having one but I don`t think I ever spoke to any musician who had had amp failure, or who had a backup amp. In those days pretty much everyone seemed to only have one amp, two instruments maybe.

For pub gigs, unless spending a lot of money for the specific purpose of putting the whole band through the PA, usually the PA is vocals and possibly kick-drum (for a bit of presence). As such I`d agree, a 410 or 212 and a 500watt head will be plenty to handle the bass for the whole venue/audience. In general a 500watt head will put out 300/350watts at 8ohms so I`d be looking at an 8ohm 410 or 212 that is rated at 400watts or above. Depending on sound required and budget there`s a great load of gear out there, Ashdown is my fave, and available for not much dosh if getting used gear. Similar is Hartke, Peavey, Laney, all be picked up for reasonable funds and all more than good enough for the job - I`ve toured all over the UK and a fair bit of Europe with my Ashdown gear and never had any issues at all. Re the rigs through PAs, well unless the PA has very good monitoring, or you decide to go in ear monitoring, then your rig is still your on stage sound. Unless you can wholly trust the PA & monitors it`s nice to have a rig that is sufficient for the whole band to hear on stage.

I’d reckon that will be a chest cavity rumbling sound that many will be very envious of.

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.