Lozz196

I hope I’m as good as her when I get to her age. Wait a minute...... But seriously, she really is very good, and as said, has groove - perfect playing without it just sounds sterile to me, but her playing just grooves nicely.

From what I’ve read the 3eq has a low pass filter in it, making it more focused. You can get near the 2 with the 3 but in my limited experience with ‘Rays it’s not the same. There’s just more grunt to the 2 in flat mode than the 3.

The Classic 50s I had was a very aggressive, growly Precision. Similarly when I played another Basschatters Classic 50s it was the same. Big thick chunky maple neck on it.

PJB Towering Inferno!!

Well I recently bought a 1987 2eq Stingray for a grand. I think I lucked out big time tho as have seen them up for more.

Well spotted Mick!

That’s a beauty.

I think one of the things about under/over rated I’d we only really see/hear what they do for their bands. Who knows if Dee Dee Ramone could play slap-bass in the way that Flea does? Certainly not needed in The Ramones but that doesn’t mean he couldn’t (tho I do have my suspicions it wasn’t his bag).

As a guaranteed Fender fanboi I have to admit that the quality of a Stingray is better. I’ve only had a few but there’s something about them that just feels more substantial in the quality. So I can see why both new and second hand they’re higher priced.

Bruce Foxton, his basslines were very melodic and much of the time he was singing backing vocals as well. However he was working with “genius” Paul Weller so people seemed to overlook Bruce.

It happens, I agreed a sale of a cab on here, dropped it off to the buyer who tested it and found it had an annoying rattle on the low B - in my defence I don’t have a 5 string bass so wouldn’t have known but it was still frustrating and more than a tad embarrassing. The buyer pulled out, luckily it turned out to be an easy fix so it got sorted and I was still able to move the cab on.

Adam Clayton??????

I don’t even make it that far......

Whenever I see these basses I think of Adam & The Ants, their bassist Kevin Mooney used one on Top of The Pops and the 14/15 year old me was intrigued as everyone else was using Fenders or Rickenbackers.

I’ve mine at the start as I’ve found that placing one after my Para Driver doesn’t do me any favours at all. I do agree Stew, that it’s in a band setting that compression shows it’s worth, I’ve only just really started using one and even with very low settings it makes the exact difference to the sound that I want. I think that’s been my problem over the years with these, I simply set the levels too high, so then thought it doesn’t work for me, whereas for my needs and the music I play it’s just a tad to even things out a bit.

Nice!

I use a Wenger rucksack. Plenty of different compartments so I can keep instrument leads/amp leads/pedals all separate, rather than in one big jumbled mess. Not cheap but made my gigging life a lot easier, plus it’s very hard-wearing, probably done 150 gigs with it and it still looks in virtually new condition.

If you like the Aguilar tone then the Tonehammer is def worth a try, they’re great little amps, and like many sound much better in the mix than in isolation. I don’t know how much of the Aguilar tone comes from their cabs though, never had one. I paired my Tonehammer with various Barefaced cabs and imo it worked well.

Agree, they’ve got to introduce variations to their main models to keep things fresh and competitive, however have to keep them near to the originals and not lose sight of that’s where the popularity is. Some variations will be more popular than others, that’s inevitable.

Just received No Rest, and am amazed at how similar a band I was in in the late 80s sounded like it. Methinks the songwriter was a NMA fan.

Sorry, didn’t want to empty your wallet but you won’t regret it.

Have you tried the 600 out in a band setting? On paper it just looks like 2 extra eq frequencies but I found it much more flexible, sharp and “alive”, plus a lot more powerful than the ABM500 I had.