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Let us know how the decision goes, Nige. All the best.

The HX version is a Mk1 without a mid control. And as always - models of the same thing but on a different modelling platform sound different due to different approaches to the task.

Thanks for the replies people. What would you recommend in a similar price bracket to the Fenders but not quite so stiff then?

ah, I just saw you are selling. I already have one and love it. The temptation for another is very high but I'm not gigging at all at the moment so all it would do is annoy my lovely wife. I haven't quite reached the stage of joining a band just to justify buying more gear!

I found the babicz disapointing - it felt like it was transmitting too much energy into the body and was sucking the life out. Personally I like the high mass bridges like the badass II or the Fnder other people in the thread are talking about. The standard BBOT has a charm as well

I had the same rig for a while. I really liked both cabs alone but never together. My 102P was a combo so I kept that bit and sold the 15.

Just an observation but if this is the 'digital' version of the Tech 21 DI bass driver type thing, is it not already modelled in the Helix/Stomp units? It may well be getting produced by the originator of that tone but at the end of the day it is just software/capture/modelling?

We do key changes and then detune a semitone for most songs to suit the singers. It can make it quite difficult to reproduce the original bass lines on a 4 string in some cases. That said we are not trying to be a tribute act, so I don't always stick exactly to the bass line unless it's a really integral part of the song. It would be hard to recognise, e.g: How Long, Keep on Running, I Gotta Get Out of This Place, if you didn't play the original bass line. We also have a lead guitarist who is obsessed with tempo, so we end up playing everything around 10 beats faster than the original. He accelerates during the set as well. Its pretty impressive that he manages to get the solos for Sultans of Swing and Come Up and See Me right, while playing them significantly faster than the originals, Lol! I saw a band locally where the bassist didn't play the original bass line to How Long, in fact the only thing that was the same were the words. It took me most of the song to realise what they were paying. Personally I think that is a step too far. There is room for interpretation but fundamentally changing a song seems either wrong, or lazy.

We Built This City - Starship

Pretty much any two cabs together will sound better than either alone. The only way to know if Cab A plus Cab B is better than 2xCab A or 2xCab B is to try all three combinations side by side. That's not an option for most.

Is it up there with the nitro vs poly paint tone debate?

I like the look of that, and $299 seems a decent price that'd hopefully translate to about that in £. seing as a $ is £0.74 and I suppose there are import costs. Tough, simple and looks like it can do all the things you really need for gigs: Tuner, compression, drive, EQ, line and XLR out, fx loop, simple to access presets, and some nice to have extras like filter, IRs, Chorus (I wonder if it can do other modulation effects or delays?), midi. I suppose the key thing will be if it sounds good though. I'm not against digital, but there is a big variation between a good digital overdrive and a bad one.

it looks great

Mike bought a couple of bass bridges from me in what was another perfect transaction. He paid promptly and kindly let me know when the bridges were with him. Thanks Mike!

I love it on my HB MP-4 (EMGs and LHZ-04), but am note quite resolved about it on a Squier Contemporary Precision (rerouted for reversed P) with Bartolinis Classic and flats.

Deff Fenders. Cant believe no-ones said it yet **edit** I also found them quite stiff compared to similar strings by other manufacturers

Never seen one of heard of it. Looks quite cool though.

Depends on the reasons I suppose. The tribute band and the function band I play with stick closely to the originals for obvious reasons; a few are in different keys, but arrangements and other important details stay the same. In the other hand, my solo work and my blues/soul trio are full of “interpretations” of songs which have been rearranged and rejigged into something that works best for us in those formats. That’s not the same as being too lazy to learn parts, or being incapable of playing them properly. That’s just freedom to experiment (with the caveat of them actually sounding good!). But yeah oversimplifying or messing with songs for no good reason seems a bit daft.

I've just listed my BB734a matte black in the for sale section if anyone is looking for one.

Ha ha, a swing and a miss, it happens.