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Hi, Up for sale my 2017 Yamaha BBP35. This is the new top-of-the-line Yamaha BB, made in Japan. Much better than the indonesian models. Excellent fretboard, low action, big sound. It's not a heavy bass. Great bass for studio too. The bass is in excellent condition. No dings or scratches, I never gigged with it, I only used it at home and in the studio. Here's a video with the bass, so you can hear how it sounds: https://www.youtube.com/watch?v=wxyyTFwGkQU Comes with original case. The bass is in Barcelona, Spain, but I will ship it anywhere in Europe. Price drop: now 1000£ or 1100€ Thank you!

Gorgeous bass great condition with a few minor dings. (hopefully shown in pics) Bought new from bass direct last year. They are so rare I wasn’t even sure how to price it but new they are in excess of £2500. For more info please ask 🙂 Mal

I recorded a quick demo of this yesterday Whilst blaming it on the boogie: First time both pickups on full Second neck pickup solo'd Third bridge pickup solo'd general noodling and NIB are varying degrees pickup volumes The signal chain is bass/EBS HD350/EBS Neo 2x12, on the head the compressor was switched off and the EQ bypassed. I wasn't planning on staring at the camera like it spilled my pint, but I only had time for one take. Also, apologies for the slap, I don't know what came over me.

Sold ***Price drop - £800 without any bag/case or £850 with the original hard case*** Collection is much preferred, due to issues getting it to the courier. Made in 2015, in excellent and very well looked after condition with no damage or issues etc. Comes with hard case, candy and an additional official black EBMM pick guard. Weight is 9.34lbs / 4.23kg It has a very full and resonant tone, acoustically and of course plugged in. It can do monster tones and mellow very nicely. The maple has a nice hint of flame on the head and neck. For those on mobile, I’m based in Harrow. Link to my feedback below, I’ve sold many a bass on this site.

Withdrawn

Cheers Nick, circumstances force the sale now, but I'm absolutely buying another in the future

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