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I've come to realise that my tastes mainly include reissue basses or guitars or guitars where the originals were introduced between 1966 & 1972ish. Anything that looks more modern (or with the wrong logo on the headstock) tends not to interest me no matter how well it plays/sounds.

I find there's something about JJs tone that makes it very hard to pinpoint the lowest notes. Also there are times when he follows Dave and others where he doesn't. I agree with Mr Valdemar that in this case he doesn't move.

Just bought a preamp from John. Communication was truly excellent. The unit expertly packaged and when there was a problem with a delay in delivery by the courier he went the extra mile to sort it out. Highly recommended.

I don't like crowds so I play jazz.

Sounds the same to me, no difference.

Keyboard cleaner spray works too.

- Gibson/Fender/Squier/Fodera, not only because they are overpriced, but they also look outdated - maple and light coloured fretboards - painted is another thing - too round necks - single cut bodies and "Beatle bass" - ridiculously overpriced "vintage" stuff - fashion things like Hartke, ADA, Markbass, tce amps, Warwick Corvette... - lousy electronics in the signal path including carbon track pots like Alpha, CTS... - terms "passive" and "active, when they most likely describe only the output of a bass: hi-Z, or lo-Z - cheapo reissues like Steinberger, Tobias... - (Fender) reissues branded to someone like Pastorius, Flea, Victor Bailey while they actually played something else in their well known career - the word "mojo" in any circumstance

Looking forward to checking it out, how have they implemented it?? Its a very graphical plugin, which I can't imagine has carried over?

updating now. I'm actually really looking forward to the Cory Wong modules!

WAL basses. They're ugly. Don't care what they sound like, how good their build quality is or, how rare they are. Apart from their inconceivable sales value (as I'd sell it immediately) you couldn't give me one for free. Stupid coloured bass cabs, ( orange, purple, red, green etc) Music stands on stage should attract the death penalty (tablets are okay) Drummers with more than three cymbals.

Neck through basses ( and I’ve got one) you can never get the action low enough and you can’t shim them Fast crazy show off slapping

Sunburst with tort scratchplates.

no problem at all. Enjoy the new amp.

Some uncomfortably reminiscent descriptions tho I'm not a great one for hallucinogens.

Instant freeze used by plumbers to temporarily freeze a pipe so they can work

Jazz/P/Strat/Tele/LP copies - Fender and Gibson are allowed to make their own copies (Squier and Epihpone), but everyone else is just ripping stuff off. Painted headstocks (and necks) except maybe black if it's a Gibson, Parker or Warwick etc P pick-ups - why are they in two bits like that? Brand new relic/road worn stuff

Tattoos.

Pedal-boards - and I have three SM58 mics - yes, I do Curly leads - used to have, but incinerated the bast*rd things Headless basses - Nurse! Nurse! Any form of music containing the following words: punk, hop, metal, disco, funk, (I could go on) Basses manufactured anywhere east of Norfolk (including Warwicks btw.) Live music - any sort, ever. Audiences - all, anywhere Gigging - see last comment Wowser, this is great fun and the surface hasn't even been scratched yet!

Oh. A part of my dies every time I see amp overhang...

Thanks for confirming James. Further tinkering now seems to show that just engaging the compressor switch adds a little brightness boost regardless of the knob setting - once I was aware of this overall lift, turning the knob does then apply a more subtle compression to the “lifted” sound. Switching it off then returns to a slightly softer overall tone. Which makes me think that there’s some kind of gain make-up going on under the hood when engaged (much like a conventional compressor pedal would do) - it’s clearly advanced since the more blunt-edged compression on my Flightcase!

Painted necks Mismatched amps & cabs - but not if the cab brand don`t make amps Stickers on basses - look great on other peoples basses, but not on mine Amp/cab overhang Blue basses - I don`t support Chelsea Green basses - I`m not Irish Pau Ferro - just looks like an imposter that`s failed to master either maple or rosewood properly All of the above are completely irrational

It sounds as if you have the earlier Suitcase (in the 4B cab), rather than the later one, which is a C4 with built in amp. The cab sizes for both combos are identical to the plain cabs, so volume, porting, etc are already correct. You just need to mask off the hole where the amp panel was and you're good to go. I'd take Bill's advice and wire them series/parallel. Those PJB drivers are 8 ohms. The 4B is claimed to be good for 300W and the C4 for 400W (I have both and think 400's a little optimistic. The drivers are the same, so 300 is safer). Your Tone Hammer will be fine to use with them, especially if it's the 500. The 700 might push them a bit at high volume, but it'll be obvious from the sound if they're struggling.