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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.

Hi folks Up for sale is my USA 2002 Fender Jazz, almost mint condition as mostly played at home and only gigged once or twice. Body and neck are basically flawless barring a smallish ding on the back of the upper wing (see pic). No buckle rash. Ash body with translucent Sunset Orange finish & nice attractive grain. 20 frets, weight is 4.7kg. All original, no changes to any of the electronics or hardware, except the black scratch plate which is an after market. I have the original white scratch plate if preferred. Also the original Fender documentation and tool kit is present. Currently sporting a set of DR fat beams. Prefer collection from Harpenden or Cambridge areas as I don't have a spare case to sell with it, may be able to arrange a meet somewhere not to far from those locations or in between! If in doubt give me a shout! Trials welcome, tea and bics provided. For sale only unless you have a midnight blue rick 4003 to trade !! Cheers Tom

Musicman Stingray Natural / Maple Absolute belter of a bass.... bites and barks like a stingray should but holds down the low end with authority in a band like not all of them do !! Plays superb looks stunning, lovely grain and not anaemic like some natural Basses can be.... the Propper thing....

Very nice, that's a nice dark rosewood, almost looks like ebony !