Lozz196

I`m a bit OCD so like amps to match cabs,so would advise contacting Genzler to see if they can offer some advice, state your sound ideals and music played. The lack of volume may be due to eq, Markbass eq is a tad "gappy" for want of a better word - mids are quite low and nasally, and highs are very high, so to remove any nasal-ness and get definition can be tricky depending on bass used. I find that all elusive "cutting through" that really helps to be heard to be more about high-mids than low-mids or treble, around 2.5 to 3kHz and the eq on the LM2 doesn`t have anything near that area.

This would be my approach. As already mentioned you may get a great-paint-job bass back that plays rotten, if not intending to move it on keep the bass that plays/sounds fantastic.

Contact OBBM (Dave) on here, his leads are amazing quality and incredibly good value. His website is as below: http://www.rock-wire.co.uk/

Cheers, likewise have a good `un, no doubt we`ll end up on the same gig soon.

I was meant to be there but had man-sniffles, bah 😭

Fender Precision. I`d had many basses over the years, none ever sounded right, and every time I played a Precision in a music shop I was underwhelmed. But, I gave it a go and bought one, again was underwhelmed until I played it with the band, suddenly it all made sense. All my fave bassists played them but as I`d not really got on with them in music shops I`d dismissed them and tried to get the sound - that in the mix sound that just sounds right - with so many other basses and never got there, when it was just that`s the way a Precision works, nothing special in isolation, awesome sat in the mix.

I was at SLFs comeback gig in Kilburn in 1987 which was released as a live album, also managed to be at Finsbury Park for The Sex Pistols Filthy Lucre reunion tour which made a cracking live album.

Yes that`s right. It`s a complicated thing, all this ohmage etc but Alex did his best to explain it to me (it does go in eventually but I`m not the most tech-savvy around).

I`ve found the magic, so to speak, Fender Precision strung with Warwick Red Label steel rounds into a Tech 21 Para Driver, Ashdown ABM600 and ABM410. The final ingredient was getting the port on the 410 sealed. I always wondered why when I used other bigger cabs, 610s, 810s etc the sound was "tighter" and a bit of research led me to getting the port sealed. Other contributing factors along the way were changing my pick from a 1.14mm to 1.0mm, and finally abandoning Rotosound strings due to that they die too quickly.My sound mow is exactly right for what I need so no changes are to be made. Honest..........

Depends on how many you buy I suppose. I buy 6 sets at a time as the postage/shipping is only about £2 more for all six. I use Warwick Red Label Steel Rounds and end up with 6 sets for around £50 - £55.

We`re an originals punk band, ages are 49, 52 & 55, being all the same age group we have similar life experiences and backgrounds. Age does make a difference to those it makes a difference to, find peple who arent bothered by it and its then easy, but its a lot easier when you are all of a similar age.

I use a Wenger rucksack, lots of different compartments so i can keep spares/items not being used seperate from those that are def going to be used, rather than all jumbled up together.

Yes that`s what Alex advised when I bought them, 8 on 410 and 12 on 210 then both cabs get the same amount of power.

Ashdown gear is strange, in isolation it just sounds ok, but it`s in the mix where it comes alive, just seems to sit in the right place. Pretty much the same with Ampeg imo. Plus I think it also depends on type of bass being used as well, to me Ashdown seems to suit passive basses like Precisons/Jazzes better, I can certainly see how GK fits with your Stingray nicely @thisisswanbon

Markbass and Barefaced are a good match imo, far prefer MB heads with BF cabs than with MB cabs.

I`m not sure, but I`ve found that I prefer sealed cabs, I think we have similar tastes in sound, I recently had my ported 410 sealed and the sound is soooo much more what I want. The suggestion of the Barefaced 610 as made by others above is a good one, unless you need really shrill modern highs it will more than likely do the job and is easy to cart about. There is also the option of theier 410 and 210 together - these are a doddle to move about and then there`s the option of just using the 410 at rehearsals, adding in the 210 for gigs for the stack-approach.

This probably shows how prehistoric we are in my band, but we both rehearse and write new material at gig volume levels. Everything to us is about the live performance, so we don`t want to rehearse in one way, then gig another. Similarly with the new material we need to know how it will sound at gig volumes, no good having a great quiet song in the punk world, which translates to a rotten noisy one (although thinking about it.......).

I know there will be recommendations that this or that 212 will outperform a 610, but I`m yet to have the experience of one that does. Sure they`ll go loud, most possibly louder, but that huge all enveloping sound you get from a 610 imo is due to the amount of speakers all going together. Again I reckon that there will be disputes on that based on science/technology/efficiency etc, but I know that of the high-end 212s I've had they didn`t give that same all enveloping sound. However they did deliver on the low-end punch, no loss of that - they were Neos as well.

I`ve not got the Facebook/online details as am not a Facebooker, but do a look up for STP. Stu is a great guy, puts on bands oop north, and his shows are very good, he looks after the bands too, plus punk is his thing. We`ve done gigs for him at a good few venues, Manchester, Wakefield, Nottingham, Morecambe etc.

Ashdown are on here, send them a message, they should be able to advise: @Ashdown Engineering

It is a problem, and in one respect I think Jack has it nailed with his description. The only possible downside is then when everything is loud at gigs people might find themselves a bit lost but if you`ve put in sufficient practice at reasonable levels then this shouldn`t be an issue. We however only rehearse and write at gig volumes, but that`s cos we`re punk (for that read stoopid).

Yep, we`ve been together for almost 5 years now, have released 3 albums, 3 eps/singles, played festivals, done overseas gigs/tours, and it`s all still incredibly good fun. I think a lot of it is to do with age, similarly we are all 40s/50s with no illusions of being stars. As such with the ego malarkey out of the way this is the most successful any of us have ever been, probably due to it being a hobby, albeit a very time-consuming one, and primarily done for fun/the love of it. We don`t take any money from the band, it all goes back in to the pot to pay for recording, flights, ferries, hotels, more merch etc. This coming week we`ll rehearse Mon, then got gigs on Tue/Wed/Thu in Bristol, Manchester and London respectively. Later on this month we have another 3 gigs in 3 days, Stockton On Tees, Edinburgh & Doncaster. That`s off the back of releasing an EP at the start of this month, at The Rebellion Festival in Blackpool. Were I to be in my 20s doing this I don`t think I would have appreciated it at all, probably would have just got riotously drunk at all the gigs (which is what I did in fact do at the smaller gigs I did back then) whereas I realise now that I`m incredibly fortunate to have my hobby enabling me to do all of the above. I reckon being able to do all of this in my 50s has made me appreciate it all the more.

The Liquid Room, with Dirt Box Disco

Well my main gigging bass is a 2015 US Precision, and I`ve found that that series are the best ones for me, so I have four of them, as such it`s unlikely I would trade in for anything different as simple-tastes me has already found the ideal.