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NOW SOLD. I bought this bass brand new very recently, but having played 5 strings for the last 20 years, I cannot settle back into playing a 4. The opportunity has arose to purchase another 5, so I am putting this up for sale. It's a great playing and modern sounding bass with a range of different tonal options from the pickups and pre-amp. It has not left the house and has barely been played. No marks and is in as new, mint condition. It comes with a brand new Spector hard case – once again as new. This is the manufacturers description: Carved European alder body with a USA figured maple top and a slice of Walnut NECK WOOD: 3pc Maple with Graphite Rods inside for additional strength FINGERBOARD: Rosewood, with mother of pearl Crown Inlays NUMBER OF FRETS: 24 SCALE LENGTH: 34" HARDWARE BRIDGE: Spector zinc brass alloy locking bridge, with intonation screws Brass Nut PICKUPS AND ELECTRONICS PICKUPS: EMG 35TW ACTIVE TONE CONTROLS: Spector TonePump +18db boost only, bass and treble CONTROLS : bridge pickup volume with push/pull function for single/dual coil selection, neck pickup volume with push/pull function for single/dual coil selection, treble boost and bass boost I am happy to accept Paypal. £1175.00 and £15 post and packing. No trades thank you; just interested in a straight sale.

These make for a great drive pedal! This is a really good description of how this pedal works in drive mode, the AGS side. The Tone Hammer is a totally different animal. With the AGS off, it's just an uber clean EQ with gain boost. Very high quality, and the sweepable mids are fantastic. You know how everyone raves about the Sadowsky outboard preamp/DI pedal. I had one, until I got my Tone Hammer. The TH covered the Sadowsky thing VERY well. The low control has the same 40 hz setting with the AGS off, as does the 4k treble setting. The sweepable mids on the TH are just wonderful, though I do wish it would go up to about 2k. No big deal. The EQ on the TH is flat when it is engaged. When you also turn on the AGS, at the lowest setting, there is no hair on the notes at all. Again, NO hair at all unless your bass is just SUPER hot in terms of output. What does happen when you engage the AGS is that highs are immediately rolled off in a way that simulates a vintage tweeterless cabinet. So the tone gets warmer sounding off the bat, even though the lows and mids are still the same. The Treble control now acts more like a Presence knob does on the Sansamp stuff. It dials in grindy mids in the 2.5k region. Very slick. The lows are tightened up a bit as you boost them, so instead of getting really deep and boomy, they get fat and vintage. Again, still no hair on the notes because the AGS gain is fully counter clockwise. The mid control still allows you to cut/boost mids where you want them. Very slick. Vintage tones with no hair. As you add more AGS gain, the tone gets warmer until you get some hair, and then it starts overdriving. With the EQ flat, the overdrive tone is VERY mid-oriented such that it can sound a bit nasally and harsh. But remember, this is with the EQ flat, and most folks who are used to hearing a classic tube amp (think SVT for example) should note that an SVT is no where near flat. There's a mid scoop. So to get rid of that nasally midrange in the TH, you have to cut mids as you boost the gain. Setting the knob around 2-3 o'clock puts the mid control around the 750 hz mark, where you'll get some classic SVT'ish mid scoop going. Start cutting the mids there to get the tone you want. Cut to anywhere from 10 to 8 o'clock, and you can pretty much close your eyes and thing your running through the BDDI and not the Tone Hammer. The cool thing is that you aren't having to use a Blend knob at all to control that mid scoop. Just scoop the mids as deep as you like to get the tone you're after, and then adjust the Treble (which now more like a Presence, remember?) to get the amount of cut you want. Then, dial up the bass if you want it fat and deep, or cut it back to keep a thinner tone. Very slick, and way cool. Here's another trick about the TH that I use a good bit. I'll scoop the mids ALL the way out around 750 hz for a rock tone. With the Bass/Treble boosted to around 2 o'clock, this is very similar to the "Fat Tube" setting from the BDDI manual. But the cool trick is instead to cut treble and bass back. I'll set bass to 11 or maybe 10 o'clock, and cut treble all the way back to 8 or 9 o'clock. The result is a very warm, lower-mid dominant tone (because the upper mids and lows are cut back so far), with a subtle, understated top end. It's very B15'ish and sounds awesome with a P bass or jazz with flats. At this point, if you want more depth, rather than boosting the bass, you move the mid frequency knob clockwise, which pools out upper mids and articulation. If you want more of that, then you move the knob counter clockwise to bring those upper mids back into the tone. The highs and lows stay the same, so it's an easy way to adjust your tone on the gig to get more/less articulation in the mix. These are just a few examples of what the Tone Hammer can do. I'm a huge fan of it obviously, but I came from being a BDDI user for quite a while, and I just never could bond with the new VT pedal. I still love and have a deep respect for the BDDI, and while I don't use one myself much anymore, I know I can always make it work. The Para Driver I wouldn't bother with myself. A lot of folks around here have slammed the Tone Hammer because you can't use the AGS like a second channel, where you can engage/disengage overdrive at will without causing volume differences. I guess I can understand that, but really that's not the Aguilar'sdesign intent. Instead, think of it more as a single channel tone shaper, that will "hammer" (pardon the pun) your tone into a wide variety of directions. It just takes a little time playing with the controls to figure out what does what. I still learn new things about it all the time. It's not that it's complicated, but rather that the AGS circuit ties in very closely to the mid control, so changing the mids affects the overdrive tone, and the more gain you add, the more the low end tightens up to prevent things from getting muddy

Thanks for the comments chaps. Canterbury is sadly a long shot, Beedster. Deedee, the heads kick out 300 watts. Very loud watts, as it happens. Far louder than other watts, IMHO.

Price drop to £850 Hi guys I'm having a bit of a clear out and consolidating some gear which doesn't get used enough. This is one of the best fretless basses I've had, but I don't play it enough - so given my current financials I have to let it go. I'll need to keep tabs on it so I can maybe buy it back one day! So here it is - a very rare series 1 Vigier Arpege fretless. Built before they started using/recording serial numbers properly but estimated to be around 1985. This is the first series made by Patrice Vigier, before they started experimenting with Carbon necks. Instead, the neck has a brass laminate running along under the fingerboard for rigidity, as well as a truss rod. Although the bass lives in a hard case in the office, my wooden necked basses occasionally need adjustment for seasonal variations - but this never does. I've literally tuned it once. Most of the hardware is Vigier's own; the bridge in particular is an interesting design. The pickups are made for Vigier by Benedetti. They're single coils and very powerful. They have an unusual 'tabletop' shape which looks great. The pre-amp is very unusual, consisting of a master vol with pull boost, series/parallel switch which actually processes some useful sounds, a boost/cut knob married to a Q filter and a passive tone. Also a pickup switch (front, middle, back) and a 'passive output' (Active output on the side of body) I'm not actually sure of the body wood but similar basses at the time were made of Walnut. It's a neck through and very comfortable. You can hear it here (wait for the fretless to cut in) where I'm suing the rear pickup only for that really tight bumpy growl, which this bass excels at. With both pickups it has a very open and warm sound. It comes without a case unfortunately but I would prefer to meet the buyer anyway at somewhere convenient. I'm in York but happy to travel to meet. The train to London is quick and easy, and/or I wan meet somewhere along the M1. My parents are in Oxford so it could be an excuse to see them, too. So I'm very flexible. Weight: 4.8kg (approx, bathroom scales!) Nut width: 41m Spacing: 15/16mm Strings: Elixir 'Super Light' Setup: Super low Strplocks: Marvel, strap side included Let me know if you have any questions or would like to try it. I'm in no rush so happy to wait for the right buyer! Cheers Chris

*SOLD* Fender Rumble 500 V3 Combo + HotCovers Padded Cover + Fender USA Metal Logo Model: Fender Rumble™ 500 (V3) Combo Amplifier: Solid State/Class-D Colour: Black and Silver Controls: Gain, Bright/Contour/Vintage Presets, Drive/Level, Bass, Low-Mid, High-Mid, Treble, Master Effects Loop: 1/4" - (Send/Return) Inputs: 1/4" Jack; Aux In 3.5mm Stereo; 1/4" Overdrive Footswitch (not included) Outputs: XLR with Ground Lift; Headphones 3.5mm Stereo Voltage: 230V UK/EUR Wattage: 500W RMS @ 4 ohms (with Ext Cab), 350W RMS @ 8 ohms (Internal) Speakers: 2 X 10" Eminence Ceramic Magnet, Compression Tweeter, Twin Ports, Cloth Grille (removable) Cab Material: 12mm Baltic Ply, Black Tolex, Chrome-Nickel Corner Protectors Handle: Moulded Plastic Strap with Chrome-Nickel Plated Caps Controls: Vintage-Style Radio Dimensions: 23" X 19" X 14" (59 X 49 X 36cm) HWD I'm sure you know all about these! But my band is quiet and has a quiet drummer - this amp is simply overkill for what we're doing. At gigs I'm running it more quietly than I do for practice at home! So, very reluctantly, up for grabs is this pristine Fender Rumble 500 Combo PLUS a fitted HotCovers padded cover (with cable pocket), PLUS a genuine Fender USA metal blackface amp logo upgrade (fitted). I really want to keep it - it's one of the best gigging combos I've had - but I simply can't afford to have two gigging rigs on the go if I'm not using one of them, and that's all there is to it. The combo is in excellent working and cosmetic order - like new, basically. I'm looking for £340 FIRM, which will include the HotCovers padded cover (£50 value), Fender USA blackface amp metal logo upgrade (imported and fitted - £30 value) and postage to mainland UK via an appropriate method. I will send the buyer an ETA and tracking information. Combo will be very well-packed. Payment is via bank transfer, please. My feedback is here. If you want to try before you buy do cash on collection, price will be £320. I'm in SE London near the A205 South Circular. Here's a precis of my original review: "...All you need do is set everything flat, plug in, switch on, and there it is - that great bass sound you have in your head. And the louder you turn it up, the more natural compression you seem to get - everything gets tighter and punchier somehow - just like an all-valve amp. It's very warm-sounding and organic, and it's difficult to get a bad sound out of (it also has 3.5mm sockets for Aux In and Headphones, both stereo, for silent practise - bonus). The Class-D amp sounds excellent and even though you're getting 'only' 350W maximum without an extension cab, this combo easily handles medium to large rooms on its own. It's LOUD. With an extension cab, you'd get more headroom, certainly a lot more beans and you could play any room. Or at least up to the size of room that would surely have a PA, at which point the issue becomes moot. I think Fender have done their homework very well indeed, which would explain why these combos are shifting rapidly by the container-load. It's light, it's loud, it's affordable and it sounds great - it's a premium brand and the retro design is on-trend. What more d'you want?" Weight: 36lbs (16.3kg) So there you have it. Take advantage of the fact I play in a quiet band and get in quick, before I change my mind! I thank you! Now SOLD, thanks.

I can hear that bass from up here in Scotland 😎

These are SPECTACULAR pedals! IMO they're better than the Wonderlove that came afterwards...