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Anybody advise on a sensible price to pitch these at on this forum? Cheers

Bought his Dingwall NG3. Seamless, well packaged and fab comms throughout - highly recommended!

It's a car boot sale though, so they say they want £200 and they'll have people offer them 50p and a pre-chewed Werthers Original then getting offended when they're told to sling it. Having said that.... At a vintage fair saw a nice Kramer guitar once. I think they wanted two grand "because of who it belonged to, wink wink" I was told. It was an Eddie Van Halen replica. B*blocks, can't be EVH's and can't even be pretending it is. I was right. They said it belonged to some bloke from a 70s rock band I'd vaguely heard of. As if that makes a budget Kramer, absolutely knackered, and with peeling decals to make it look like an EVH, worth more than £100.

If I wasn't in the band I would have been escorted off the premises. Lol Daryl

I've owned a lot of combos and they all had their flaws. They were either loud but heavy, or light and not powerful enough. But my latest combo, which is a Markbass CMD 121P, ticks both the loud and light boxes. I got mine used but I'd definitely have paid the full price (whatever that is/was) for a new one, they're definitely worth it.

To sort of expound on this, I do personally think "PAT" testing does have some value, but as preforming musicians, I think that by and large, we look after our gear. Now, an amp in a rehearsal room I would always treat with healthy caution As others have alluded to, my biggest concern would always be the state of the venue's electrical installation!

… spend a boat load of money!! You could use a pedal switcher type pedal like. Gigrig G3S, then have all your preferred individual effects (after you’ve bought loads finding those gems you prefer), use expensive patch cables for the switcher system (or at least way more than you’d anticipate), power it all with a nice isolated PSU, but you’ll most likely need at least 2 of them (lots of pedals = lots of power!), then you’ll have to see if the pedals play nicely together, and if they do then you’re onto a winner. If you’re pedals are fancy they may take Midi control, but that’s not something I know about to comment. Or buy a modern multi fx and be done with all the above 😆. However I don’t have a G3S, but have enough of everything else mentioned in the first paragraph lol!! Currently I’m favouring small (ie Pedal Train Nano sized boards) but that could all change in the future! Don’t think I’ve really answered the OP but had a brain dump instead 🤣

£20 here will sort you out: You'll need a headphone splitter (and a stereo to mono 6.35mm-3.5mm adapter if you don't already have one), if you have some sort of headphone amp (the P2 clones off AliExpress are good) then you could probably use the main out to get a seperate mix if you don't want the same levels, again with a few more adapters. In fact you could probably just pan everything over to one side and use a regular mono 6.35mm-3.5mm adapter.

My dad saw this at the car boot yesterday and rang me to see if I wanted it. Unfortunately he couldn't work out how to take a photo or send it to me 😄 Apparently the guy selling said it belongs to his son who plays guitar all over the world, and the bass had been in his attic for 25 years. There's no serial numbers on it. I said it sounds like it's just been nicked off someone in Rhyl so I passed! *edit - of course the story might be true, but over the phone it sounded fishy. The guy wanted £200 for it btw...

I've just put my bass down after a play through of Keep On Running. IMHO it's a great piece of music with a driving bassline featuring good syncopation and memorable riffs. Despite few 'blue' notes it manages to convey a great sense of movement. Other great examples: Heard it on the Grapevine, Sunny Afternoon, Jean Genie... but even some superficially simple songs contain subtle little details. It's not Beethoven, but it's way more complex than most modern 'pop' music. When waiting to go on, I often quietly play along to the DJ/Jukebox and you can crack many modern songs =very quickly. Why have the basslines of popular music become so basic (excuse the pun)? Is it just that old-school bass players had a bit more theory knowledge? Or just that modern music is so dance oriented the bass has just become an extension of the kick drum?

My current combo is the Fender Rumble 800, chosen for weight and power. If Ashdown did a similar product I would have gone with them as although the Rumbles sound great I do prefer the Ashdown sound. But they don’t, and weight for me is a big factor, a 13kg 800w 210 great sounding combo fits my needs well.