Lozz196

Well I was seeing Buckcherry on 29 Nov in Milton Keynes but they’ve pulled the whole UK tour citing rising COVID cases.

Was wondering earlier, as you do on a Friday, how many of us who are in different bands that play different genres use the same gear, or have dedicated basses/amps/strings for each genre. To expand I’m a rounds guy, but keep feeling that my classic rock band would sound better with flats, that type of thing.

And if you were unlucky you got the rats as well…..

If you like the Ashdown sound why not check out their ABM PRO NEO range. They do a 112, 115 & 210, and the 210 has diagonally placed cones so is smaller than a traditional 210.

I think you’ve got the best brand there is, in respect of getting this sorted. And in respect of the sound of course.

Good to hear this, must have been a great day when you finally got it back

I think the cabs were as much a part of it as the amps. I`ve found that whenever I`ve used TE cabs there`s an ice-pick frequency in the upper mids that I just can`t get rid of, yet if I use a TE amp with any other brand of cabs although the famed sound is there it`s somewhat reduced. Pretty much like having an Ampeg amp head, you`ll still get the classic Ampeg sound through any cab but put it through an Ampeg cab and it`s almost doubled.

Sadly some of the punk bands about aren`t that good, are pretty much as described, whereas some are truly amazing, really tight and all able to play very well. I think your standards @Rexel Matadorare the right ones, there`s nothing wrong in any of what you say and I don`t think you`re taking it too seriously at all. Having been on the punk/Oi circuit the bands that can & do play well rise to getting the good gigs pretty quickly, and there are plenty out there, maybe these guys have that potential but need steering/focusing, sometimes that aspect doesn`t need to be done by the lead songwriter.

I wonder which frequencies the eqs are at?

They’ve designed a bass for Stevie Wonder….

Who are you’re fave bassists? If they’re the typical Fender/Ampeg players then go for the Ampeg. If they’re not Ampeg users then the EBS being “flatter” with less baked in character might be the better option.

Yep, they’re not a band they’re a bunch of mates on a night out.

I’ve recently bought a Squier Precision and the adjustment grub screws on the bridge protrude a fair bit and are sharp, so I’ve bought a Fender Himass bridge for it. Better adjusting, and less sharp parts to cut myself on with my rather ham-fisted approach to playing. As to sound, well in the past I’ve had Badass bridges and to my ear they tightened up the sound a bit but would I notice that in the mix, no. Would I even notice it when playing the bass loudly, no, I only noticed it at home rehearsals and even then it wasn’t significant.

The necks on Japanese Fenders are very nice, def worth trying out.

They don’t hurt that much Dave, ok it’s sort of pain but similar to Steve I’ve nearly dropped off having one. I’m not the toughest skinned individual, (apparently I’m easy to tattoo which means I’m not an armadillo) and I have about 30, if they hurt that much I’d only have the one.

And another

For a scary looking chap Lars is actually a very nice chap.

It`s amazing how well a driven sound fits in the mix and fills it out. My fave example of this is Phil X & The Drills doing My Sharona, the bass is just awesome.

I`d look at adding in some drive/gain as per @Stofferson says. Works quite well going from completely clean to slightly overdriven.

Nice one, I`ve got two of the 210s, am yet to use in a band setting but at home settings they sound great. The ruggedness of the steel grill was one of the factors that made me change up my RM cabs for the ABM PRO NEOs, think they`ll be more hard-wearing for gigging, as well as matching my ABM600.

Congrats Liam, hope it all goes well for you.

I’ve just bought a Spark, the full sized one. Very impressed so far. With just the bass in isolation it’s easy to hear the gain/drive on it but in the mix I reckon it will just fur up the sound much like when you hear an isolated bass track from someone such as John Deacon. On the track it sounds big and warm, isolated scratchy & driven. When I’m playing along to YouTube I can’t hear any of the drive at all, and this is exactly what I wanted from it, it stops the sound from being completely clean but retains the actual sound of the instrument. Just like valve amp break-up.

I can’t remember which one it was that I had but I swiftly got rid, carrying around 20lbs plus of basses and case in one hand just didn’t work for me. One of the sad facts of getting older I suppose.

We used to rehearse on a weekly basis, even if we had 2 gigs that same weekend. Why am I saying this, well it’s so that if we got dodgy monitor mixed instead of that “can I have more upper mids from the hi-hat in my monitor” rubbish that I see many bands do, we’d be rehearsed enough to do the gig with no beaching & whining. I hate seeing bands, after every song complain about the monitors. I used to give the sound people a mic-chart detailing the line-up and what each of us wanted in our monitors as well to try and combat this. The other thing that really annoys me is bands complaining “why don’t you all move forwards/come down the front of the stage”. They would, except you’re shyte. Rehearse a bit more and focus on the songs rather than the backstage beers.