Lozz196

I get where you’re coming from Jack, and to be honest even on the big stages where you’re 25 odd feet away from your amp a Class D amp will - in my experience - be loud enough, it’s just that A/B or valve amps just seem to have a greater solidity & presence to the sound. Of course if you know you can get good sound checks then monitoring will cover hearing yourself but all too often it’s line checks, and one of my pet peeves is bands continually going “I want this upped/lowered in the monitors” between each song. So on a big stage knowing your amp will have a depth and presence is a bit of reassurance. And to be honest, I preferred having the sound of a good amp behind me and no bass in my monitors anyway. Ah, those were the days.

Yes the valve drive on the ABM EVO 4 I found to thicken up the sound and go into drive only if really digging in (so all the time with the way I play) whereas the RM Drive is more like a traditional overdrive pedal, needs fine tuning to get that drive when digging in balance right.

This may be something to do with A/B amps sounding better when pushed, just like valve amps, whereas perhaps Class D amps just sound the same? I don’t know, I’ve never had to push a Class D amp to the point where it struggled but on bigger stages my ABM600 had a much different feel to the sound than when on smaller stages.

Whichever is the heavier one - as in used on 70s Fenders - I found it to have less lower mids, or at least that was the characteristic of all three 70s Precisions I had. Slightly tighter bottom end and more aggressive top end.

Same here, amazingly full sound as well.

Wowzers, was only £20 out - which back then would have been a prawn cocktail, well done steak, Black Forest gateau and a bottle of Blue Nun at a Beefeater.

I think it reads: The 51 Split J is fackin great.

Never saw them, but a rhythm section of Sting & Copeland is difficult to match.

I’ve sold a lot of gear recently as am no longer in a gigging band, so offloaded excess gear that I had. I have reinvested though, a bit of trial & error, some in/some out, have got to more than I still need but not as much as I had before.

Great looking bass, congrats

Paul bought a scratchplate from me. Swift payment, good comms and advised when received, something u always appreciate.

If you like a chunky neck the Vintage V4 is worth checking out, slimmer neck then the Squier would be a good choice.

I reached my limits last year, I did my back in twice carrying my ABM410 up the stairs (nowhere to store it downstairs as front door is ground floor, rest of property first floor). Up until then I was fine with it, yes it was heavy but whilst I was able to manage it all I did. Sadly I now can’t, boo-hiss.

I’d say around £500, which would have been a lot of money back then.

I recently sold my Ashdown ABM600, the best amp I’ve ever had. At 13kg it wasn’t too hard to cart about in comparison to the big valve amps but my ageing frame protests whenever I carry anything, so I listened to what my body was telling me and kept my Ashdown RM500. If I ever join a gigging band again my RM gear will be sufficient, it sounds great and unless on a really big stage there’s not that much difference to the ABM.

Yup

Nice, I’ve heard both in action and quite typically for me the Ashdown wins it.

Is it the Marshall VBA head & two VBC412 cabs, or his Ashdown rig?

That’s it for me, whilst it’s not the same at least people will still be able to watch their fave bands. On a Fri night after a hard weeks work, settle down with a four (or eight) pack in front of the laptop and see the bands put on a show. For the punk scene there are a few really good promoter and I really hope they take this on. There are venues that could easily put the events on safely for the bands and camera/lighting/sound crews. Keep some money coming in through their doors, bands get increased online sales, keep the scene going.

Imo a great deal of the Ampeg sound is their cabs. I’ve always found that in isolation the slight muddiness of the Ampeg sound is pretty uninspiring, but put in with the rest of the band it comes alive.

Hope you’ll be putting a couple of tracks from this project up on here Nik, really interested to here them.

Yes since opening of non essential retail, pubs & restaurants an increase was always likely imo, plus with events as described in another thread where no distancing was either practiced or controlled it doesn’t bode well for the giggers amongst us. I reckon performers are really going to have to look at online shows via promoters, it may not be what is wanted but it’s a way of gigs going ahead. Just wonder how it would be as a performer playing to a couple of cameras and trying to keep the energy of a live gig going.