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Bungalow Bill - The Beatles

would have thought they might have relocated the operation outside of the uk ..the brand is strong and quality can be maintained if the will is there, the days of asia producing rubbish are behind us.

Heh, I can't leave anything alone... I also swapped the bridge for another one which let me get the action a touch lower but I'm still not wedded to the chunky high mass bridge look on this bass...

Well when I first bought my OBD-3 I was playing it through my jazz bass and it sounded awesome, the tone I wanted etc, but I’ve since moved to Spector and although I can get a nice sound from it by rolling the bass all the way back on my bass (tone pump pre amp, dialed down to around 30% output) it’s just not very practical in a live scenario. Certain songs I need to stomp on and off for distortion, so I’d initially read up on radial dragsters to correct impedance load which I thought may help me get the OBD-3 pedal working to my liking, but as ITU commented above maybe that’s not the best idea. I’ve got a second hand big muff deluxe on the way to try next

I second a used Markbass combo. While it's a little spendier, if you can find a deal on a CMD121 rather than a Blackline, you will find yourself more or less set for life. I used mine solo for rehearsals for years and smaller gigs, plus it has the guts to add a second cab for larger stages. It's super small and robust and versatile. at low volumes, the fan noise and horn hiss can be louder than the bass, which is great. As tempting as it is to find a lower power alternative to make sure its portable anything that says its "100 Watts'" for bass s in my experience is going to struggle at practice volumes to stay "Clean" usually with combo's these are paired with a cheaper speaker and the gain needed to bring up your volume will shape your tone, So going from bedroom levels " to headroom" is going to be a struggle, Last night, I used one of the new Fender Rumble 100's (new rehearsal room for us) I't sounded Dire .... I've used the larger ones before on shared stages happily but I've not been enough of a jerk to want to adjust their settings. I'm sure I'm going to anger the folk who love them but I found it totally boomy, undefined and saturated no matter what I did with the Eq, to get any volume to compete with the guitarists I needed to run the gain quite high and it was so bass heavy .... i ended up with its eq controls with the bass totally cut and both low and high mid and treble and 70%, perhaps this is because its designed with fender bass'es in mind which can be a bit more " mid focused" but it was an experience that made me wish i'd brought my markbass .

Exactly this. I’ve sold many five string basses over the years. The cheaper basses flew out the door and the more premium instruments took a while longer to find the right home. Certainly haven’t noticed any difference in selling fives than fours…

No, they are not, it all depends on the price tag.

It's now totally official! 😥

Those stairs are a killer but it is an amazing venue. The owner is also a really good guy. Dave

I'm just about ready to buy a nice Spector 5 string and was reminded that previously with 5 strings, I've had a nightmare trying to sell them when ready for a change. Are 5 string basses typically difficult to sell or have I just had the wrong ones? Previous 5's include Ibanez SRMS805 Ibanez SR505 and Sterling Ray35 (very nice budget stingray)

With twin truss rods, the process is to act on the treble one first, after freeing the bass one, until the neck is as straight as you want on that side and then slightly tighten the bass side until there's a very tiny slight resistance. That way the relief will be perfect. All my Leduc sixers, but one, have twin truss rods, furthermore I owned several Alembics and, I must confess, some Rickenbackers and Rickenfakers too.