Leaderboard

Real. it’s the body, the sound, the feel....the sweat, the pain, the expense, the awkwardness, the difficulty....but oh the sheer joy!

For obvious reasons, there's always a steady stream of topics on here about amp/cab pairings. Obviously, this issue is by definition subjective but I particularly wanted to flag up how totally chuffed I am with my latest Mesa-cum-Barefaced rig. When the amp arrived on Wednesday, I first tried it flat through my pair of BF One10s - but the sounds were a bit too dark/vintage/moody. So I hooked it up to my Super Compact - and KERRPOW - instant gratification and grinning from ear to ear! Since then all I've changed is to dial the high mids down to between 10 and 11 o'clock and bring the voicing in at 9. To put my comments in context, I'm playing classic covers and my bass is a Maru' Elwood 4a with Haeussel P/JJ with Delano 2-band. I'm not posting this to suggest that it must be right for everybody just because I like it, but to endorse a couple of things that others have already said: the Mesa is an incredibly good amp; and you won't get that excessive 'darkness' that some complain if you pair it with the right cab. Along similar lines, seem to remember McNach reporting that his 800+ (with additional high-pass filtration and bright controls) sounds great through his pair of Two10s.

Baggage handlers would be dying in strange, almost Final Destination type "accidents" if that had been my instrument.

I like to leave the negative comments so everyone can see the poster for what they are. At least they care enough to post a comment. I enjoy the whole process and that's all that's important for me. If other people like the music that's a bonus. If they don't, there's plenty of other music on the net they will enjoy.

I would be going to a different retailer next time! What an attitude to customers

I can see how the poor design leaves that chunk of wood vulnerable. I'd point out to them that if you had caused the damage then you would have just bolted it back together and sent it back under the distance selling rules and they'd be non the wiser rather than highlighting the problem.

I actually think the headstock design is nicer on this than that of the original it's drawn from.

I am your Grandad............

Mine turned up half an hour ago, quick tune up and straplocks on balances nicely on a Comfort Strapp. I ordered a case with it, the headstock just about fits, which I suppose is just enough really.

It's good for spotting and thus avoiding posture problems too, i.e slouching or playing with badly bent wrists, the kind of thing that can cause health problems, bad backs, carpel tunnel etc.

Yeah... I hate it when threads are ruined by discussion, too.

Ta Ped, gosh I look popular....

Thank you very much everyone for the advice! I have managed to source a second-hand SR300 I'm looking forward to getting started with it. Saxondale

I've owned a Euro4 and a couple of Legends, so already very much a fan. Have underlying Spector GAS constantly. Only one thing to do about that, really.

Just to clarify, I’m not the horse referred to in the OP’s title....👍

What makes old *anything* more desirable to some people / more valuable / worth preserving? In a word I’d say it’s ‘heritage’. Today we can generally manufacture products to a far higher standard than in the past: be it dining tables, buildings or even bass guitars. What we can’t do is imbue these items with history and heritage and authenticity... only time can do that. And that’s ultimately what the antiques market is based on. A skilled joiner can build a Victorian style table to the exact same standard as his Victorian counterpart; just as a skilled luthier can replicate a ‘66 Fender Jazz right down to the pickguard screws. But the items will have no true heritage. And heritage is something we humans hold dear - not just in dining tables and bass guitars, but throughout all of our many different cultures. You won’t boil the value of heritage down to a clear and convenient answer in this or any other context (suffice to say it’s part of the ‘human condition’). But it makes for a fun discussion

After reading most of the TB thread, it looks very positive. Looking forward to what you think.

Again?

I've got around 6 grands worth of Musicman basses here, they've all been shimmed in sunny california, lol.

I saw it and my heart hurt. I would have been arrested, to say the least, had this been my instrument.

Agreed, it does sound like you have a duff one - I'm with Osiris on this one. You're very welcome to borrow mine - PM me if you do and I'll post it across to you.

If you had to shim it to make it playable, that's another question they'll need to answer.

Sounds like a smokescreen from the Seller 'fit and finish is ..never perfect' WTF? eBay will side with you anyway. Tell them they put you in a 'very difficult position' too by selling you a piece of carp..... Or just send it back restating the faults, if they try and get out of it, go to eBay who will side with you. Even if the shop argued you cracked the heel( which would be virtually impossible to do there is a fault in the wood), they could not blame you for the other faults. Also restate the guitar is in the 'exact same condition' they sent it- faulty.....

That’s the right choice, looks good!!

Actually, I'd take issue with the entire sentence, not just the grammar. I suggest the following: "Like most threads on this subject, this has become a bit silly." I've removed "I think..." as it's self-evident. I've then reversed what remains, arming the reader with context before delivery of the salient point.

I have a LH500 and played in an ac/dc tribute band and it had all the power I ever needed and we were quite loud. I had 2 Ashdown cabs, a 2 x10 and a 1 x 12 and used both together most times. Agree totally with Chris above. Get another 8 ohms cab and you will be rockin.

Hi Marc, NYE was amazing. Loved every minute, currently learning songs for another audition and so happy to be back doing what I do best. Thank you for your kind words.

That is a really good suggestion!

Actually the low B should be the least of your worries as, it will be the lowest tension string on your bass.

I also enjoy both. Obviously, the sound, the feel and the sheer joy of owning & playing a true acoustic DB is something else But the portability and ability to practice in near silence shouldn't be under estimated... I too started my upright journey with a Stagg EUB. It certainly gave me an introduction into the world of upright bass, and it made me want to then go out & buy "the real thing" It also gave me some good background info and some essential experience & knowledge about how to choose my first acoustic upright - signs and features to look for. So buying an EUB has benefits for when you want to start spending more too.... and you will want to spend more, I guarantee you Although I didn't keep the Stagg too long, I got back what I paid for it (another advantage of buying a used one!) and although I then bought an acoustic upright... ... I found I needed another EUB, for those open mics, jams & folk club nights or just whenever taking a full sized full bodied DB wasn't practical... Again, my experiences with the Stagg had helped me choose a better EUB second time around.... Nowadays, although I don't play as much upright as I had anticipated (projects keep collapsing, sigh!) I'd still rather keep my options open and have both. There are times when I can only practice late at night, and there are times when I just love the tones my acoustic upright produces, or there are occasions I'm asked to bring my acoustic to a jam..... Try the Stagg in the first instance - if you buy second-hand, you'll get your money back, or, there are websites detailing upgrades you can make to the Stagg to improve it... Alternatively, if you really want to spend some more money, buy something more expensive - but you still find you hunger for an acoustic upright! And I'm sure you'll still find space for your EUB Good luck with your search, and on this new, exciting journey

It`s not so much volume as such, it`s more that the sound is - generally - bigger/fuller with more speakers, so that gives the impression of being louder. Running the LH500 with a 250 watt 1x15 should be ok, you just have to use your ears to make sure that you`re not over-loading it, checking for farty/flubbing noises, and also don`t put too much low-end into it.

They are a reputable shop as far as i know. They helped me out last year when i was looking for a wiring diagram for a specific guitar and manufacturer didn't reply. I had never used them before but been there a few times and know of them. It was just on the off chance and they were very quick to reply where they sent an email to manufacturer and forwarded me the diagram within a day or 2. For a shop i hadn't bought from and they didn't know me i have to say i was impressed. Think they'll replace it without issue. Dave

What it means specifically could be just about anything. For decades Fender drivers were labeled 'Fender Special Design' and the only special about them was the label.

I use a gopro session and record audio directly into my Mac then sync up in iMovie. I also use iRig2 into my iPad and use the iRig app to film. That works a treat and cuts down on editing!

Hmm... From a great distance (across a glen or two..?), maybe..!

Pre amps and rack fx which would generally speaking be modulation/delays etc would want to bypass the pre amp in the vast majority of cases hence why there is an FX loop in and out on the back of the head, these are all as you say items that you would leave wired in which they can be and many people do. There is also a line in which is direct to the power amp on the back of the amp... As for the main input for your instrument or wireless the main reason it is on the front and in the position it is is that it is the furthest place in the amp away from the big toroid output transformer which if was near to your input would introduce lots of hum and other unwanted noise to the proceedings. Hope that helps.

Love Sax's and Bassoons (why don't we hear more of these?) - hate distorted/overdriven guitars.

I thougt that too, but It's amazing how little space they take up. Who needs a TV or book cases anyway?

Black, black, maple is my favourite. Here's my JV Squier that sports those materials.

there is a new thread elsewhere on this site about the new Sire Marcus Miller V3 - the 4 string is priced at £238. That would be a stunning first bass for any player.

Thankfully I stopped making instrument keys a few years ago , I still work with nickel occasionally , mostly working on frets or stringing guitars. i'll have to wear gloves now.

Ive got a set of rounds on a P bass and Tape wound on my active bass and Ive tried Chromes too . Best strings out there for me anyway . I absolutely adore the tapes .

There seems to be a strain of nostalgia (especially among the English) that there was once a golden age when things were better. Luckily we don't apply that to medicine! 😄

But not good for jazz. I’ve only recently been forgiven for wearing a red jacket.

Thanks Adam. I've been using EXL 170's for years, but will give the EXP's a go. Didn't like the feel of Elixirs so hope these manage to feel less 'coated'. Cheers.

Hi, again James (it's alright folks, we've pm'd on a different topic) When I get a linky tag thing from @Norris I know I HAVE to respond! Tru-oil. Wonderful stuff. And like always, there are choices. First of all, unless you've already ordered a bottle, a 3oz bottle will generally do at least 2 guitars or basses so plenty for one even with trial and error repeats Used on unstained wood, I would echo what @Bridgehouse said - use tru-oil with sandpaper to create a slurry. Wipe it off after a few minutes and the slurry acts as a sealer and grain filler. Repeat a few times and progressively drop down to, say 250 grit, and now, not just wipe it off but vigorously buff it off. Quite quickly you will get to a beautiful, quite durable, silky smooth satin finish like this: I do ALL my necks this way....it has to be felt to be believed Next option is to do the above just as a grain filler stage but then just apply coats of tru-oil wiped on (I use cheap household microfibre cloths) and left to dry without wiping or buffing. After a number of coats, with a wet sanding of 1500 to 2000 wet and dry every two or three coats to flatten any cumulative ripples or dust buggies and then a final couple of coats as the final semi-gloss. I say semi-gloss because tru-oil does dull down a touch after a few weeks. This one was done that way: For stained woods you do also actually have a few options: Stain it, apply a couple of coats of tru-oil left to dry overnight to act as a sealing coat, then apply wiped on coats as above, doing the first light sanding (1000 grit used wet) after, say, the fourth coat (so you dont sand into and through the stain) then carry on as above building a semi-gloss build-up I'm probably one of the few people who do it, but I have started doing the 'slurry and buff' approach with stained woods. You have to be gentler, but I've found that the slurry takes stain with is so actually, unless you are too harsh, you don't end up with bare unstained patches. Takes a bit more practice, but you can get some decent results (this used to be white): Hope that helps rather than further confuses! Andy

I have tapes on my PJ and i use the bridge J pickup quite a lot. It's a personal choice, it just depends on what works with your style of playing and what context you use them in. I play jazz so I like a dead tone, but I don't think tapes sound dead at all, theyre just more woody than flats or rounds. They're flexible so you can get fairly expressive with dynamics, and they react well to digging in. If you like treble, I wouldn't bother, but for things like jazz and funk and blues they've been perfect for me. Because the tone is more fundamental and direct, the quality of your pickups and how you amplify your tone matters a bit more than with rounds I think.

Spend £600 on PA, and the rest on guitars, drugs 'n hookers! http://www.astounded.com/qtx-2100w-10-channel-active-live-band-pa-system-with-usb-mixer.html BB