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You are absolutly correct, the similar one I saw is still on reverb for about £100 or more than I think it worth:

Bass response is all about the seal for me, so going custom moulds is a cert. However, I do like the KZs for bar type gigs - I own both the ZS10s and ZARs (both with foam tips) and I'm quite happy with both.

Unless you saw it 3 years ago on eBay, I think it's a different amp.

Surely the obvious comment would be to get a PJ bass if you wanted to cover both?

Thank you. I can't remember precisely what I paid, probably somewhere around £150 three years ago. I used a NOS JJ valve from my spares box bought many years ago, so nothing like today's silly prices. I kept the original Trace valve for...... no idea really?

I saw this but passed - generally (in the UK) you can find a GP12SMX for less than £300, and a smaller cab like that for under £100, but looking at various forums it can be double these prices in the US or mainland Europe.

The Bass Driver "DI" was designed to facilitate the old school way of both mic'ing and direct inject that was done in the studios and stage for years. I can't recall that last time I've seen any live sound tech or studio engineer employ this technique. Typically they would close mic your bass amp and split the signal to a DI. The mic'd amp sound would provide the character and body to your tone and the DI of your instrument would add definition. The two sounds were mixed accordingly and your final sound was a composite. Fast forward to how things are presently done. Most studio applications are DI'd bass. For live situations most sound techs will either plug you into a DI box and you just use your bass amp as your stage monitor or they will take a DI out of your bass amp. Bass amps will typically have a pre/post setting on the DI. The pre setting is just the sound of your bass pickups and the post is the sound of your amp but most amps don't have compensated (speaker sim) outputs. The idea behind the Bass Driver is that you would plug into the BDDI and send the parallel output to your amp for your stage and room sound and the SansAmp output would go to the board giving the engineer a more consistent feed and a more complex tone. The Bass Fly Rig was not designed to work like the Bass Driver. I think a lot of players associate the SansAmp sound with distortion. They can do clean to overdrive to very distorted if desired. You don't have to use the Blend to obtain clean tones. They operate like old school tubes amps but have the advantage of producing distortion without the need for high volume levels like an old SVT, HiWatt etc.

I’ve recently started using Instagram, ‘read-only’, in order to follow some bands or musicians, because it’s so much easier there than on the tar pit that is Facebook (and let’s not mention Twitter). I don’t mind at all if they post some non-music stuff as long as it doesn’t drown out the music and gig info that I mainly want to see.

The Small Fæces.

C:Ream Bream Pric Clapton

Johnny Hates Jizz

Twa' Corgis - Steeleye Spaniel

The Super Compact is the most traditional sounding of the BF 12" cabs and should do the business with a suitable amp. It and your Markbass should be perfect for the old school sound you seem to crave. Which leaves the instrument. Something like a P bass would be far more likely to do the business, imho. It's also worth noting that no single 12" cab will give you the sound you get from a large PA. The laws of physics and all that.

Maybe Andertons have been following the "Ruin a Band or musician's name by replacing a single letter" thread on here? Don't Fodera make a Victor Woolen bass? 🤣

I think the overall EQ / bass boost is the same. Heard one commenter saying one or the other was more ‘amp-like’, but that’s about it. I can get the V pretty close with the switch to the right and boosting the presence, but it’s not exact.