Lozz196

My only wish for the OriginAL is that it could run on batteries. The last gig I played there`s no way I would have been able to get to the plug sockets to either unplug something or plug a PSU in, so my Sansamp gets the gigs even though I far prefer the OriginAL.

I had a Kia C’eed Estate which with the seats not folded down I could fit bass in hard case, bass in gig bag, Ashdown ABM600 & 410, plus bag of leads. Fold the seats down and I could add 2 guitars in hard cases, Marshall JCM900 & 412, another leads bag, and 2 small cases for luggage.

And almond oil too.

Given that you can’t always rely on monitoring I like to have a set up that I know the whole band will be able to hear if the monitors (or sound person) are poor. The set up you describe should be fine for all but the huge O2 type stages.

The newer ones address this quite nicely, both my ABM600 & RM500 have plenty of highs, but I do know what you mean, I had an old ABM500 and that wasn`t all that sharp on top-end.

I use the same gauge - when I can get them - but stainless steel. I think they’re great, a better balance in sound than 45-105s imo. 45-100 my preferred gauge, if not 50-105, sadly neither seem to be around at present.

Mine too, sound great and I get nearly a years use from them

As you’re looking at doing bigger stages I’d look at one of the 212 models, Super Twin or if you want a tweeter Big Twin 2. If a Super12 or Super12T comes up on here I’d grab that.

I’ve eyed these for a while, being an Ashdown fanboy, only thing that has stopped me is having too many Precisions already.

Well as transparent is what you’re after Barefaced would be a good call. They’re incredibly powerful and will take whatever is thrown at them, plus lightweight too. There are usually some up for grabs on here. I’d avoid the 1x10, 2x10 & 4x10 though, these are their vintage range and are voiced like old school cabs.

I wouldn’t put the Tonehammer as a transparent amp, although it is a very good amp. For what’s required I’d suggest an Ashdown RM500 as there’s an eq on/off selector, possibly the nearest to what you want to do, and is in fact what I used to do, just plug bass to pedalboard into amp, all eq bypassed. Either DI from what’s on the pedalboard or from the amp.

He must have to do weight training on his fingers for those

Does what it says on the tin!

And you’ll probably find that you love them, I prefer slightly heavier D & G on Fenders, brings a bit more meat into the sound.

Forget their thoughts, if you enjoy it stick around. If you’re not enjoying it, coupled with their thoughts I’d say time to go.

Without wanting to be too eager to promote my very own sale of a Gator G-Bus, I think it would do the job nicely.

The newer ones such as the ABM600 and the RM range I find are much more flexible than their earlier amps.

I had a similar issue on an RM112, but only on really low notes, turned out to be the tweeter of all things. Ashdown sorted it easily enough for me.

Yeo there’s a Japanese Fender Jazz up for sale on here that has no pickguard, looks great

I had this with the second PF500 I had, happened on the first time I used it (connected to a Barefaced Compact & Midget so not an issue re the cabs). That was my journey with the PF range over, shame really as the first one I had was great, no issues at all.

Great info re compression there @Boodang never really got to grips with how it all works, that’s very helpful

Definitely, in my last 3 bands my tone has been quite different, chosen to suit both the music style and fit with the other instruments.

I had exactly the same happen with my second Ampeg PF500, on the first time I used it, which is why it got returned pdq and why I no longer have faith in the PF range in general. Shame as the first one I had was excellent, great tone, volume, no issues at all.

Fishy looking eq…….