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The Hofner Verithin was quite common in the 60/70s and my first electric 6-string guitar was a Hofner red solid body with one pickup. It played really well BUT it did not look like a Fender or a Gibson, in those days I was a little more fickle than I am now. The Hofner Jack bass really was a fine instrument IMHO, except for having the name and lots of writing on the body.

I also have a D800 but I've only recently put it to any use. I actually bought it in January 2016 according to a quick search through my email, but I took it to a rehearsal and was underwhelmed so I put it in a cupboard in case I needed a 2R capable head at some point. I didn't, so it stayed there until earlier this year when my rehearsal studio amp went on the blink and I needed another sacrificial head to keep down there. It had the distinct advantage of me already owning it, it's loud enough, sounds acceptable, and if it's built as well as people suggest then it should hopefully cope with living in a flight-case in a gear-store with all the climate control of a garden shed. Same, but for me it'd be Markbass LM800, Ashdown RM800, Ampeg PF800. Same - seems to be how it works best for me in our rehearsal room.

Yeah, Pride and Prejudice and a Mills and Boon 😄

Lovely!

Does anyone know the difference between the German Artist series basses and the other German basses. Looks like the vintage ones are a "relic" finish, but not sure what the differences between the other models are.

This is exactly my experience with the cab model on the BassRig SV - everything is a bit tighter and more controlled.

Gonk

Some parameters have an exponential response (for example envelope times). Filter cutoff goes down to MIDI note 36 (65.41Hz so not the 20Hz of some other filters). Still plenty useful for lots of stuff.

Again, nobody has been reading carefully, and certainly not my post. Cort has never mentioned that it was a bookmatched top, never ever. You should all stop with this inadmissible argument. The other flaws are the only reason you'll get a full refund, so stop mentioning the top and you'll win the (legal) battle.

I done one... I've had a go at DAF's AntiFascist anthem, Der Mussolini.... Featuring my very best German vocal!

Apparently connecting a second cab is needed in order to get the full power, so on its own it`s approx 150 or so watts. Having a combo that competes with the Rumble 800, so 400 watts on its own would be my ideal, plus at a competing size/weight.

He is very funny.

Smile - Nat King Cole 😆

Makes perfect sense!

The Rumble 500? What about this one?

My Future Impact is my Christmas present so now I have checked that it is working, it's gone back in it's box and been wrapped so I won't get to use it again until next weekend. I'm not entirely sure if it was down to user error or not being entirely sure how all the parameters interact, but my initial thoughts were that most of the parameter values I was interested in happened in the bottom third of the range and often increasing the value by one unit gave a greater change in sound than I would normally expect from a conventional synth. Also the LPF doesn't appear to fully close at its lowest value even on the 24dB setting which may be a problem if there is no envelope controllable VCA after the filter. There isn't one in the block diagram in the manual but that's 10 years out of date, so might not be relevant. I found most of the supplied pre-sets rather harsh for my tastes, but I don't expect to be using any of them as they are not really geared up for the way I expect to be using this device. The real test will come when I start using it in combination with the Helix programming my own patches and using MIDI note information to trigger the VCF and VCA envelopes processing my bass sound. Ask me again at the end of January if I haven't posted anything here before then.

People shouting, rolling their eyes, making big eyes, fast edits, waving their arms, faux indignation etc on YT. The joy is that there is much better content on there so no one has to watch shouty people.

Tuner (in bypass mode), Preamp and compressor always on (NB mute and a HPF on the preamp). Extra EQ pedal for fretless to give a mid boost if needed (but not always). Fuzz one out of every ten songs again if needed (not always). Chorus/Envelope Filter/Octave pedals go on my board every now and again but then come off after a few months of never getting used (this cycle has been going on for a few years as I keep aspiring to use them, but never do!). They sound great on their own but I don't think add anything in a band situation.

Worth remembering that there's another side to Hofner's business making classical stringed instruments that I imagine most of us here know very little about. Who knows which part or parts ofthe business are actually failing?

Mona Lisa - Nat King Cole

And actually, the Fifteen actually tames octaver and filter a fair bit due to the low end roll-off.

Late to this party but, the two halves imply book-matching almost perfect mirroring of the figuring/grain on both halves. You would not have accepting it if you went to a shop.