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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

In a passive cab (so, anything we're talking about here), if there are multiple sockets, they are wired in parallel. There ARE exceptions... but they are very rare. Always worth checking but I really don't know of any modern cab that's not wired in parallel. If an amplifier has multiple speaker outputs, the same story. So you can treat all the sockets the same. Connect your amp to one cab, then use the spare socket in that cab (or a spare socket in the amp if you had one) and connect that to a second cab. Everything is in parallel.

This is my 1991 Gibson Thunderbird, but who knows. I'll never know what the difference is unless I play the Benton. Blue

Again?

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

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.

If you go to the Marketplace, all the information you need is there. It'll cost you a small amount for either a single item or a slightly less small amount for a whole year of adverts.

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!

As an aside, yes they are. In a test that was done with a real Stradivarius (and other classics) and high end modern violins, the concert violinists picked out the modern violin as the better one. When they later redid the test but told the players that it was a real Stradivarius, all of them preferred it. Shows how powerful the mind is over the senses. http://www.sciencemag.org/news/2017/05/million-dollar-strads-fall-modern-violins-blind-sound-check

You have to rely on your ears to not overload your cab when you are near or over the limit with your amp. It's also a case of how hot your signal is going into the head. One problem is that it is easy to push your cab too hard in a high volume situation without noticing that it's struggling.

After some more thinking, I think it must’ve been the output socket. I had previously tried what @Woodinblack suggested above. Unfortunately, that didn’t help, which is why I concluded I didn’t like the pickup - although I thought it was a bit odd. Quite an expensive case of trial and error, I’m afraid... but at least I’m happy with the result. Looks like there’s an expensive pickup going onto the marketplace soon. Thanks again for the helpful replies!

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..!

When it comes to craftsmanship, things don't necessarily improve. Are any of today's violins better than the ones Stradivarius made, or any of today's painters better than Michaelangelo, or playwrights better than Shakespeare? Genius is genius. What will have improved is technology. Today's pups will, 9 times out of 10, be an improvement on stuff that was around 40 years ago and the same for the electrics / pre-amps. And if I was to hazard a guess at what the two single most important factors on bass tone on the bass itself (as opposed to the rest of the signal chain), I would go for (i) the pups and (ii) the preamp. So give me a modern well designed bass (whether based on a classic body shape or not) made from decent woods, without fear of a warped neck that time and low B string tension have taken their toll on or flaky electrics, and with some great pups and I'm pretty sure I won't be yearning for a better past.

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.

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.

Almost.... its in the same ballpark... It' a great bass... sounds great in passive and active...

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.