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It’s fascinating how we all perceive sound and decide what works for us. In have been through multiple, precisions, jazzes, stingrays, Warwick’s, overwater etc and for the last 8 years i have settled on a stingray. It’s one of the few basses I can hear well in a big band, it cuts so well. I play it in a funk/soul band and a 90s pop/dance band and it just seems to work well for most things. It’s one of the few basses where I have ever had compliments on the sound. I have a 3 band eq and run it flat with small boosts and cuts depending on the room. Adjusting the mids on the bass and amp seems to make the most impact for me in terms of flexibility. when I first got one I just boosted treble and bass which sounded great doing crappy flea impressions at home but struggled in a band situation.

In my case, I never had a U4. However, I had some interference with some wireless going in 2.4 so I bought directly the U45. My other bandmates (3 people) uses the U4 without any issue. Open question for the guys who use stereo. How do you setup? My Sennheiser XSW is capable of stereo, but I just used it to mix the bass in one channel and the rest of the band in the other.

Pervert's Church (From The Cradle To Deprave) - Cradle of Filth

Personally I couldn't live with that.

The Velvet Undergrout. Badness.

To a very different budget, I'd imagine! I've got a Cort Persona 'Lavender Phase', which has a poplar burl top - and they sure as hell bookmatched it. While I wouldn't be expecting 5A mirroring from Cort, both the examples the OP received are unacceptable in my opinion. It's not like it's a rare/exotic/endangered wood [which is why Poplar burl is the facing du jour for budget/mid instruments].

Two basses. Major issues. (scratchy pot on #1). Try another brand.

Supertrump

...I smell a book matching conspiracy - I wonder if he has a family member who works for Gibson?!

They don't really offer a wide range of basses. However, I remember the brand featuring a lot in bass player magazine in the mid 90s.

Thanks rao, that’s a very early one by lee Perry, probably around the same time as Long shot by the Pioneers , actually I just found this, In 1968, reggae pioneer Lee “Scratch” Perry launched his first record label, Upset Records, with the single “People Funny Boy

I believe there are some nuances that tend to get ignored or downplayed when it comes to people's subjective preferences, despite the subject being done to death in other ways. Especially when standing right next to a cab, dispersion matters, and related to that, comb filtering (from multiple drivers) matters. Multiple stacked 10s only sum to a coherent point source well below 1kHz. Above that you're going to start to get lobing. Everyone's heard this when adding a second cab. It doesn't just get universally louder, it gets bassier. Cab shape, especially height, matters. A generic single 15 mounted low down is going to sound smoother than a generic 410 (limited HF dispersal, no comb filtering). The filtering aspect isn't necessarily obvious in a single listening test - but put that cab into different acoustic spaces and you're going to get greater apparent inconsistencies between spaces. I suspect one of several reasons an 810 is favoured is that the comb filtering gets smeared out at a given listening position due to the complexity of the summing pattern. Add to that the use of similar/same drivers across multiple manufacturers and you could easily develop a 'sound' you associate with a particular speaker size. Especially drivers like Eminence with characteristic breakup peaks for particular models. TLDR I believe there are some practical differences in how different size drivers might be perceived standing up close.

Well, I guess you can only sell so many Beatles basses.

I'm very curious too. I have one from 2001 which I absolutely love. I'm a big fan of Blades. I hope this one is decent too!

My partner cut me 3/32" dots from white high-stick vinyl. They last about a year before needing replacement and don't cause any harm.

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