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Thank you to everyone that came down to to say hi at the SBL Masterclass stage - it was an incredible (and somewhat overwhelming) weekend. The masterclasses were awesome (Bobby, Rich and Mo were outrageous!), and i enjoyed checking out some of the stands in the little time I had away from the boss! After this years show, I'm going to try and make a point of heading down to some of the bass bashes, so please keep me in the loop as to when and where they're happening! It was so lovely to meet so many faces, chat equipment, lessons and progress! Thanks to all those involved... Phil.x

Jamerson's supernatural playing on "What's Goin' On?" and "For Once In My Life" alone are enough to make him a total genius, and that's all I need to know.

I left a band once after a blazing row at the rehearsal rooms in the coffee machine area, stormed off back into the room, packed my kit...and then had to go back and ask for a hand getting my Ampeg 810 up the stairs and into my car. This is why lightweight cabs are the way forward...Flouncing Ability is an often-overlooked plus point...

If you fancy doing a recording - it would be just GREAT to hear you playing the same track on your Model T, your Fender P, your Maruszczyk Jake P/JJ and your Stingray so we get to hear an A/B of the four basses. If you mange to upload something on YouTube as a Bass Shoot Out even better - I suspect you'll get a fair few hits (although not as many as the young lass playing a Yammy BB2024 on the Yammy thread ) PS love the candid honest review you posted above. So much more useful than the not uncommon "I've just got the best thing since sliced bread review...ooops I've since moved it on 'cos I've discovered croissants taste nicer."

I'd just like to call attention to the splendid effort and dedication to detail displayed by our colleague The Skank. Keeping up to date with such a plethora of images appropriate for almost every occasion is no mean feat, and should not go unrecognised. Please rise, then, and as one, applaud our graphic hero with gusto and enthusiasm. Here's to you then, Skank, Master of the Matching Cliché.

Well... I've got the bass. Today I was home at 4pm from work (today it was a very early start but literally 4min away from home, so it was nice to be home before the traffic even really got seriously bad). It was doubly nice as I had arranged online to have the bass stay at the depot and for me to collect it. I received a confirmation with a note stating that they were open until 8pm and that if not collected today it'd be sent back. Well, they attempted to deliver anyway, and ended up leaving it with a neighbout. UKMAIL... I can't tell you just how many times you've failed me like this in the past... at least this time they actually left it somewhere I could get to it quickly, so l was lucky, but I'd have been really annoyed to go to the depot (13 miles away) to find they again said one thing but did another... Anyway... I got it out. I haven't weighed it but it's not heavy, which is a good thing. It does look as nice as in the photographs... or better. Mine has a very nice grain and I love the tint in person, very nice and warm. It had a rather high action for my liking, so before I even plugged it in I changed that. I had to lower the saddles quite a bit and tweak the truss rod more than I expected... so I was worried the high action was hiding uneven fretwork... but nope, I got it really nice and low and it looks like the frets are all nice and even, the nut is well cut, and it's a very nice neck to play. Pretty shallow profile. Then I plug it in, with the preamp (Bass/Treble) set at the centre detent which I assume is flat, and both pickups on (blend control set at the middle) And it's ok. Not great, not bad. OK. I'm very underwhelmed here, especially after all the anticipation. There's some funky harsh midrange going on that I am not loving, especially slapped. Bass end of the P pickup was a bit too overpowering, perhaps due to my lowering the strings? I bring that side down a bit and things get better... but it's not a lovely tone. The bridge pickup... reminded me of why I didn't like a 75RI Jazz bass I had, which was equipped with a set of EMG J. They really are not my thing, and boosting bass a bit doesn't really make it thick enough, it still sounds way too clean for my liking with a lot of top end and some added low end on top... The neck pickup... hmm. Ok, I actually like the neck pickup a bit more. It's aggressive, and it has that mid-growl that I love on Precisions... but it's still a little 'unrefined'... so I turn down the treble a bit. NOW we are starting to get somewhere. This bass comes with Ernie Ball nickels 45-105. They are not high tension, but when I use these strings I prefer their 45-100 set and only really after I've played them a bit. I really dislike the brightness they have when new. I generally hate new strings. I don't want them dead, but I struggle when I change strings until they are tamed a bit. So here we have a bass with strings brighter than I like, and pickups that are probably brighter, or at least with an extended top end compared to what I prefer... so not the best combination to impress me on a "first date". I played a little more, turning down treble almost to max, and it is nicer but I'm not fully feeling it. I miss having a semiparametric mids control... the treble frequency is quite well chosen so when I cut it works the way I want it although it doesn't cut quite enough. The bass... I don't really feel like adding or removing. I wish it had a passive pone control and a semiparametric mids control instead. At this point I look at it, put it down, and go away to do something else. I'm thinking that I should be very careful with it, not mark it in any way, because there's a good chance this bass will be returned: it is a perfectly fine bass... but I'm not really loving it and I don't see myself using it that much after the "novelty" wears off. ... I'm pretty much sure that I will return it. But I decide to give myself until Monday to make up my mind (it just leaves me tonight and Wednesday night, and Sunday night, as I'm busy the rest of the time). ... Then I have another go, after I've eaten. This time, crucially, I'm using backing tracks (some random funk/rock/reggae ones I find on youtube, as well as stuff from my own band). And now things start sounding better. About an hour and a half later... I'm leaning towards keeping it, but I'm still 100% sure. These are my thoughts at the moment: The bass feels very nice, the neck is just my kind of neck (I could do wider, but it's wide enough and it's shallow so it doesn't feel chunky but it's got "meat"). Cosmetically and physically I have no issues here. It's not the lightest bass but it's not a heavy bass at all, probably a bit lighter than my Stingray. The preamp... I'm not a big fan of. The stacked knobs don't feel that great, a bit 'gritty' even if the operation is noise-free. The treble is just right in terms of the frequency centre that I like to cut, especially with new strings. I wish it cut cut a bit more than it does. The bass... seems a bit lower than I'd like... but then that's usually how I feel with most preamps. I miss having control over the mids. I'm used to the John East mids module, or the 2-band Stingray preamp which after years of use I instinctively know how to set so that I get the sound I want. This preamp doesn't seem as interactive as the Stingray one, but there's still some degree if interaction and I'm not yet familiar with it. As it is, I still would like to have a bit more control on the mids... and if this bass was to stay, I can see replacing the preamp in the future for a John East mids module, and using a passive tone control. But not in a hurry. I'd imagine most people would be more than happy with the EMG preamp, I think it's just me being almost obsessed by the John East preamps, of which I have a few :D) The pickups... I still don't love the Jazz bridge. It's too clean and thin and I can't thicken it the way I want by adding bass to it the way I can on a J-Retro preamp with any other standard Jazz pickups I've tried. However... with both pickups on, you get a nice sound, with a bit more midrange than usual for a P/J combo but still somewhat scooped... but here is where the blend knob comes handy: just turn it a bit towards the bridge... and you gain clarity very nicely, still sounding fat and punchy. For THAT reason alone, the EMG Jazz deserves to stay. I'd never use it on its own, but it allows me to control the midrange when using both pickups, and it's what makes me not too worried about keeping it stock. It's a sound that on its own wasn't that nice.... but when playing along to backing tracks it started to make me smile. It sits very well in the mix, but it still has a nice presence. The EMG P pickup... now, this is a LOVELY sound. It's not a traditional vintage Precision type of sound at all... but it still sounds like a Precision, and it has that low midrange growl... hmmm... This is a very good sound! No more to add... it's just a really good Precision sound. Aggressive, but taming the top end just sounds incredible. In the mix it sounds really really good. Powerful, strong presence, but not overpowering. It's the EMG P that probably swayed me the most towards keeping it. I'd probably use this bass as a Precision most of the time, and sometimes with both pickups on. But it makes me wonder... what if I just put an EMG P into my cheap but lovely to play Squier Mike Dirnt Precision? I suspect I'd end up with something I really like, and save a bunch of money. So, is it really worth it? Should I keep the Model T? I'm not sure. It will not replace my Classic 50s Fender Precision, because this one has THE classic Precision sound. It will not replace my passive Maruszczyk Jake P/JJ, because this one has righteous funk and reggae sounds and the JJ pickup at the bridge is a very useful sound by itself... although it doesn't do very well the classic Precision sound. But the EMG P on the Model T is completely grin-inducing once I tamed the treble a bit. I think once I put a set of stainless steel DR Fat Beams, and let them get 'funky' for a couple of months, the Model T could sound pretty awesome. But... the tonal adjustments onboard are not my favourite options, and I'll never know 100% until I use my preferred strings for a bit... Some argue that if you say "this bass is great but... " and then start saying how you'd shape its sound with EQ etc, that it's probably not a 'keeper' bass. And in my experience, the basses that are surviving any culls are the ones that felt and sounded right from the start, regardless whether the strings were my favourite, new or old... It just seems that £700+ may be a little too much for an instrument that doesn't completely floor me (as nice as it is) when I really do not have a need for a bass like that right now. So... I'll retire and meditate for a bit, then play some more... and see how I fee in a couple of days.

Looking back over 40 years-worth of drummers it's clear that the softly-softly approach is a complete waste of energy. However nicely one puts it, drummers always get the hump. This being the case, I have eschewed diplomacy and now adopt a more robust approach e.g. 'Play it like that again and I'll f**king kill you stone dead on the spot. Savvy?' OK, they still quit the band but it saves time on all the pussyfooting around.

Well, he used the same argument about his lead so I got him a very early prototype wireless unit and he still did it after every song. Bow, kick, bow, kick, bow, kick. Only years later did I come to realise that the foot thing was a sort of nervous reaction born of low self-esteem and stress. By then, of course, it was too late to do anything other than pen a fulsome apology and stick it in the post. Months went by and I'd heard nothing so I wrote him another letter and was promptly slapped with a restraining order. My wife of the time (a Japanese lady artist) insisted that it was all his fault anyway and I was much more talented so I left her, sh@gged my PA, got drunk for years and eventually took four bullets off a nutter. That's showbiz for you.

Only when he was pretending to be Carol Kaye on all those Beach Boys albums.

And I regret selling it to you

Yeh! Well spotted Dood! I thought it didnt look quite like a standard bridge. More a thicker/fuller type. Ive never heard of a schaller 3d bridge but will have a look. Ive now nearly got my sound sorted: im using my markbass evo on a sunn valve amp (it just sounds much nicer than tbe swr and ampeg models) setting and treble quite well backed off through a super compact. Thats what i have found fits our band well in a live setting. Nice and rich sound but well defined. Also added the built in compressore which clamps down nice and really evens out the sound as the lines are all over the fret board. Almost the look now (instrument wise). Going to swap out my hardware for some gold aka the black bass above. Hadnt considered gold strap locks too. Hopefully its going to look class when done! Its been a real experience learning johns basslines. Every type of genre is in there at some stage.

https://www.jhaudio.com/p/iem-display For when life is telling you that you really have nothing better to spend your money on!

Great idea. You could also playfully slap them round the face as well - to see if they're violent. If they are, go straight to A&E. And don't join.

Pa Clampett Because you can never Clampett enough.

It's taken me 4 days, but thought I'd offer my feelings on the 2018 show. As ever, was particularly excited, and so when I thought I might not make it because of the snow, I spent a good day talking about roads and their condition to Mrs Sibob......needless to say she was bored by it lol. I beat the snowy roads (in no way to the same extent as some peoples treacherous journeys) and got to the show on Saturday about 11:45.......... .......just as Bobby Vega was finishing his masterclass I had my bass with me, for no other reason than I had a gig after the show, but was fun excuse to show a few people my US Lakland 44-94 (passive P/J, think it's the only one they've made in that config) with La Bella Gold Flats. But essentially meant that I stuck to my historical behaviour of not picking up a bass at LBGS. It's not really through choice, but more because I'm very happy with what I have currently, and I always find myself chatting and catching up with everyone, not leaving any time to add to the noise. That said, if Jake's Serek basses had arrived on the Saturday as planned, I would have had another go on those (after my NAMM testing), so was gutted the weather scuppered that. Glad they arrived on the Sunday for him though, they're really very cool....I can see one of those in my future!! (ie I've priced it up with him lol). I enjoyed the layout this year from a functional perspective, I do like open plan, you can see around the place a little easier, however I did feel that the two extra internal rooms dissipated the overall noise better than open plan. Fewer booths than last year, which was sad to see, but hopefully the fact that this year seems to have garnered an overall positive reaction, they'll be back. I fully appreciate that a show like this is probably a PITA to attend, but I'd also like to think that engaging and supporting the UK bass community is high on a number of brands agendas, whether they 'need' the orders or not. Of course, the onus is also on Future to try and facilitate that as well. Booths that would be great to see back next year who were absent this year, including but not limited to: Barefaced, Status, COG, GB, Shuker, Strings & Things. Yes it would be great to have 'bigger brands' there and not just UK boutique, but I think these are largely catered for by retailer & distributor booths, was a shame to see no Strings & Things this year! Had a really interesting chat with Rob Elrick about neck wood preparing and construction, very friendly and knowledgable man, always good to see him at NAMM, so it's a pleasure we can host him at LBGS! Beautiful basses! If I ever went down the route of purchasing a Fodera again.......I'd likely ditch it and buy an Elrick lol. Had some good chats with Alan @ ACG, I have a bass on order, so was enquiring how it was coming and fawning over the Salace SC 6 he had on show. Great seeing the Markbass UK guys, I've been using Markbass heads for probably 6 or 7 years now, and I think a LM Nano will be added soon too! Managed to catch Mr Vega in the SBL room after missing his masterclass, just an incredible player, lovely person and deserved bass royalty as a result! Other than that, LBGS was primarily, as it always has been for me, a wonderful opportunity to catch up with some lovely lovely people that I don't get to see as often as I'd like. It's a fantastic place to meet, catch up whilst also being inspired and humbled in equal measure. Long may it live! See you next year! Si

Totally. They're good instruments, without a doubt. My 'niggles' were purely about whether this is the sound I want, and I should have started by saying that I don't normally get along with twin pickup basses, except things like the Warwick Corvette $$, where the two pickups are not at their 'usual' positions. Unfortunately these basses are not very commonly found in the second hand market, so if one really wants to try it, buying online and gamble is the only option. So the question is: do you think it will be a better bass than other similarly priced ones that you can find more easily? If the looks grab you, there's no question as there isn't really another one like it around. But if you just want a PJ style bass, there are lots of other options too. I have to say I like this better than the vast majority of PJ basses I've ever tried so far. I played the Model T a bit more this morning and now I'm at 99% keeping it. It feels right for me. It's a lovely neck, I got it playing very nicely with pretty low action smoothly, no buzz, I can still dig in and will sound good... and it does sound good. Now that I know where the "sweet zone" is for me, so I don't need but to tweak very slightly the blend or treble controls... I'm pretty happy with the sound. I'll take it to band rehearsal tonight and unless that reveals something negative, I'm keeping it.

Sterling Ball has the lawyers on amber alert:

Did you try the Fender UK website for the owner's manual? Lots of good info in there.

"I get the MEANEST BASS TONE. You won't BELIEVE how I did it".

There's something about drummers - you can't tell 'em owt - particularly if it's tempo- or timing-related. Why do they like to think they're metronomes when they clearly aren't? And why are they so touchy about it when you criticise them out of the blue in front of the rest of the band??

Don't forget Roger Glover, and Andy Fraser! As for Entwistle, although he was a key figure in Marshall's development (along with Townshend), he didn't actually use them for long. He soon moved on to Sound City/Hiwatts. Agreed. There simply wasn't a lot of choice back then, if you wanted to be heard!

There was a thread on here recently about the lengths that online 'tutors' etc go to get people to click on their videos. I sense another attempt.

Not a quest I've ever been on! If it ain't saturated, I ain't infatuated.

My favourite setting was bypass mode.

HB PB-50 Modded! - *Version 3.0* *Audio Clip* This is my third modification of a Harley-Benton PB-50 Precision Bass. If you want to see what the stock donor bass looks like, Thomann have it for sale here - with more and better pictures than I can be bothered to take: https://www.thomann.de/gb/harley_benton_pb_50_sb_vintage_series.htm As usual I reshaped the headstock to a 50s-style Telebass and painted the pickguard, but this time I went to town and converted the stock four-saddle top-loading bridge to a through-body two-saddle bridge with ferrules, more in keeping with the 50s vibe. Yes, I had a spare pair of pants on hand when I drilled through the body. And being a bit fed up with sunburst, I did a full refinish in Shoreline Gold. Yes, I know Shoreline Gold wasn't available until after the 57 Precision redesign, but what the hell, I really like it. The pickup is another Herrick Tele '51' - this time the Neo magnet version as opposed to the AlNiCo 5 variant fitted to v2.0. It's a bit stronger in the high mids and top end, throws out a bit more signal and sounds great. https://www.herrickpickups.com/products/tele-51-bass-single-coil/ I really liked the look and texture of the Shoreline nitro, so didn't clear coat it. I'm hoping it will age naturally in all the right places. The only stock components remaining on this assembly are the body and neck (obviously), the neck plate, the control plate, the string tree and the strap buttons. Everything else has been upgraded or replaced. As you can see, the Fender flats are getting a bit elderly and I want to get some of those La Bella flats that are specifically made for through-body bridges. Nevertheless, the bass sounds great and plays like a premium instrument costing many times more than the donor bass. Result. Body refin in Shoreline Gold nitro Pickguard in Ivory Cream Squier Vintage Modified through-body two-saddle bridge with ferrules Herrick Neodymium Telebass '51' pickup CTS solid-shaft pots, Chiclet cap .047uF, Switchcraft jack in cats-eye side plate Fender flat-top knurled control knobs with grub screws Wilkinson WJBL 200 tuners Fender 9050M steel flatwounds 55-70-90-105 Thanks for looking!

https://www.ebay.co.uk/itm/Aria-Pro-II-SB900-Bass-Guitar-circa-1977-80-Matsumoku-vintage-very-rare/263480145576?hash=item3d58a3f6a8:g:h1wAAOSwOgdYohgg

I think I have the same as @Muppet. So, what’s with the knobs? Why is there no 5? I still haven’t worked it out

Hey all.... @Cuzzie @FacStudio @ShaunB @NancyJohnson @cetera @fretmeister @dannybuoy @Sean Aside from Tech21 claiming they are “shipping soon” I’ve had confirmation these are due in U.K. in April. Exciting news! with these numbers so far I would suggest we can knock our basschat price from £270 RRP down to £240 delivered to you. If more add to the list we can maybe do better. I’ll do the preorders at the end of the month so it’s nearer payday for everyone... if you could email me your details to [email protected] I’ll send you a PayPal invoice with my details. BOOM!

Don't forget me! 2 x 60s Superbass 100 heads and 4 x Sound City 4 x 12s. Just glorious. I preferred the Sound City cabs to the Marshall because they distorted less. I also used the heads with 4 x Vox Foundation cabs, 1 x 18s, and they sounded great as well. No roadies either! Had Hiwatt, Sound City, Selmer, Simms Watts, Impact and Fender to name but a few. All valve of course. Tried the early transistor heads but they were all a bit lacking in volume and sounded pretty crap!

That’s why I went for pawlownia

If I could figure out how he put together his lead distortion effects, I'd never work with a guitarist again!

Prosebass....if I could I would definitely go with a double bass. I loved my DB and sold it reluctantly. An EUB is a compromise for me. Spookily I've just been given a rather nice bonus at work which I wanted to earmark for the bass. Unfortunately SWMBO has other ideas...apparently it has to go towards my daughter's wedding. Watch this space

Interesting thread which is rather helpful as I cannot decide between a good EUB or a DB to get started in this area. Maybe I should get back to building and come up with my own design?

Dont know if this is any good to you but i suffer from white finger vibration/ tendonitis in the base of my thumbs. I've been using CBD oil from Holland & Barret and do notice an improvement, i'm not saying its a cure but does take the edge off things, for me anyway

I played the bass quite a bit more now. It's growing on me. Lots. Once I stopped messing with it and just played it, with minor adjustments as I went along... I started really enjoying this. That position on the blend knob with both pickups on and favouring *slighty* the bridge pickup is such a great rubbery "finger funk" type of sound. I love it. And the P on its own, adding a tiny bit of treble growls like a beast and has a pretty cool slap sound although there's still something on the upper mids that I don't quite like when slapped. Anyway... undecided still... but I'm very likely keeping it now. Oh, and I weighed it, 8.5 lbs... lighter than my Stingray indeed.

I think anything heavier than around 20kg would seriously hamper an effective flounce. But if you were using the house rig and a cheap bass it would be great to smash it on the floor, Who-style, before storming out. The bastards wouldn't forget that in a hurry.

You missed me off this list too, I had a bass state B150 ;). Was a very good amp though massive and heavy. Had a look the other day to see if they were still doing bass amps and didn't see any. But did find out that they own Eden so maybe thats where all their bass energies are focused these days?

You left John McVie off the list. Marshall was considered to be the best sound around at the time. They were the first ones with that rock sound and while every one else was trying to catch up Marshall cleaned up. Good gear was expensive back then so most gigging musicians played what ever they could get their hands on. But owning Marshall was the aim. Until Hiwatt, Orange etc cam along then Marshall had some serious competition.

Some P basses are up to 45mm, so the difference can be significant and certainly noticeable . Appreciate not everyone's bothered by this, but interested as to the consensus.

Ease of use: I read the instruction manual before going to guitar center just a single time, and i didnt have any problem setting the b3n up. Switching patches is much better, as you clearly see what patch you are switching to. Editing effect is also easier, cause you see all parameters at once. When adding or changing an effect, you don't have to scroll through all of them to get the desired one, they are categorized. Only thing that changed to (anyhow) worse, is that you don't see all selected effects at once, and have to scroll through them, but thats easy one-button operation. Worth to mention that springs on footswitches are not as hard as on b3, so they are comfortable for both foot and hand operation. Menu navigation with this pressable knob is as easy as total and global menus from B3. All that ease of use improvements make up for a downside: the PC/Mac software no longer allows editing the patches, only moving and renaming. So all your editing will be on B3n now. Build quality: B3 had full aluminium housing with only plastic elements at the display section. B3n has almost no plastic on the "dashboard", but instead unit sides are black plastic. Despite that, unit seems as sturdy as B3. The lower plastic footswitches function way better that similar hinged switches on some low end pedals, like behringer. They have the same nice "click" as the upper, chrome-looking footswitches. Parameter knobs are smaller, but click as nice as on B3 and were comfortable to use for me, i have medium sized hands. Displays are of course smaller, but backlight is closer to white. Features: I'll be short on that one. Tuner works as well as on B3, but displays on screen, not on dedicated LEDs, so visibility is slightly worse. Looper and drum machine are now separate effects to add to the chain, didnt test if you can put in multiple loopers, but i know that only one drum machine can be used at a time. There are 4 variants of looper: stereo/mono and single/dual unit. B3n is missing some features from B3: - separate balanced XLR out - usb bus power - usb audio interface - possibility to reverse order of effects (to right to left) - possibility to change dry/wet blend on patch level - possibility to power it with batteries But they are some added features too: - master level knob - aux input - possibility to install and remove effects/amps/cabs to the unit - and up to 7 effects in the chain of course! Tone: Compressors seem to be same quality as in B3, didn't notice any difference. Amp sims... there could be more to choose from. I couldn't get my favorite GK tone, but they are as good as on B3, especially after some tweaking and getting used to. Overdrives/distortions/fuzzes. I got surprised by those. I tried to get my frequently used Big Muff to sound same as on B3, but it changed drastically. Maybe a little closer to original one, but to my taste worse. In my opinion, darkglass gear make up for that, they sound really good. Tube screamer is pretty much the same. Thanks to the introduction of 2-unit effects, you finally can use distorted channel of MXR DI+. All other effects from this category sounded more harsh, somehow mid-lacking, but i suppose they just need more tweaking and combining with other effects to get good results. Potentially better than on B3. All effects are now having 4 or 8 parameters, so some effects lost the blend control that i am using all the time on B3. Refer to the effect list for more information https://www.zoom.co.jp/sites/default/files/products/downloads/pdfs/E_B3n_FX-list_0.pdf. Synths didn't change much. They seem to track a little better, but sound pretty much the same. Sadly i didn't test Octavers. In my opinion, Reverbs, Choruses, Wahs and Delays sound same as on B3, but i don't use them too often so it's possible i just missed the difference. They removed the Bit Crusher! Tone overall seems a bit diffrent. On B3n all preamps/amps and overdrives have a bit larger tonal range, but mid frequencies are somehow less defined. It were a barely noticable difference, something that is rather felt than heard, and is not really easy to describe. I hope that my amp's graphical EQ will be enough to build up the mids. Worth to mention that B3n seems to be more sensitive to the instrument's tone. Is it worth upgrading?
 In my opinion, none of them is better. They are just different units with different purpose. B3n is more tone focused, as you can chain more effects and switch between patches easier. Use it, if you already have external DI-box and USB audio interface (or you don't need them). B3 is all-in-one utility, get it if you are sure that 3 fx slots will be enough for you. In other hand, when i were buying B3, i didnt thing i'll use all 3 slots, and now it turned out that i need much more! And for the tone, i think its a matter of taste, you can guess how it feels to play basing on my review, but i highly recommend trying it out at local musical store, if possible.
 
 Some tips: - Refer to https://www.zoom.co.jp/sites/default/files/products/downloads/pdfs/E_B3n_FX-power-chart.pdf to check if all effects that you want to use can be selected at once. - To tighten up your sound and make bass more clear and readable, use the splitter to remove all signal below certain frequency. For my mahogany bass, 100 or 125hz is just fine. It works best for me if put at the front of the chain. - You can also use splitter to get rid of that hissing, digital sounding high tones from distortions. - If you're not really good at timing with the looper, you can set it to end after certain time, based on the tempo set on the unit. Feel free to ask me any questions.

Just done a trade with conan, Geoff, excellent communication quick delivery deal with confidence

Conan is a very generous guy and a pleasure to deal with. He offered some strings, and he sent some strings.

Just sold my Hartke LH500 to conan. A nice genuine big fella and a pleasure to do business with. Recommend him to anyone.. Enjoy the amp. Remember and come back for the cab God Bless Deak

Hi, I've just sold my Ashdown Mag cab to Geoff, AKA Conan. Brilliant sale, dead quick arrangement of sale and was willing to meet me half way! great buy and a great guy- really friendly and totally hassle free sale I would recommend him to anyone :-D Cheers Geoff! Mikey Reed