Lozz196

I`ve had both the 350 and the 500, and unless you need very clean at high volume, combined with a very hard hitting drummer, the 350 should be fine, especially if hooked up to an efficient cab. If given the choice between the 500 and a single speaker cab, or the 350 and a multiple speaker cab, assuming the budget is the same the latter would be my choice.

I`d wait and see how your amp fares, if you`re only using it for stage monitoring it may be fine, especially with the Schros as they are very efficient cabs. When I had a BC250 I let a couple of bands use it with my old Barefaced Super 12 and it was plenty for on stage volumes.

Aggressive, punchy, twangy and hard-hitting. Pretty much the opposite of me as a person in fact. My tone/sound is somewhere between JJ Burnell, Duff McKagan, Bruce Foxton and Lemmy.

If you like the Markbass sound Mickey, a Little Mark III will work a treat. Ashdown would be also be good, especially for the more bottom end stuff. If the ABM is too big/heavy the RMs are great little amps, have a lot more "oomph" to them than many of the other smaller amps (I`ve had many, so am speaking from my own experience here). Both the ABM600 and RM500 have plenty enough top end as well, forget the woolly-brigade.

I was very impressed with the Super Midget when doing a cab shootout at the SE Bash a couple of years ago. An amazing amount of sound from such a tiny little cab.

James Jamerson used LaBellas I think. Some are pretty high tension though.

That looks great, really suits the bass well.

Bought a Mono Vertigo from Dan. Good comms, swift despatch, and the item arrived very well packaged.

I`m in Hemel Hempstead, about 7 miles away from Berko.

Having had both, unless playing huge stages and really having to push the amp, I can`t see the 350 not being enough, unless also needing a quite clean sound, combined with a heavy handed drummer.

If the Gotoh fits then, assuming Tokai used the same bridge on both Hardpuncher and Jazz-sound, then all should be fine.

Tricky one, depends if the Tokai was designed solely for their basses. If no-one has the exact knowledge, why not see if a kindly Basschatter can loan you a Fender BBOT Bridge, see if that lines up with your Tokai bridge, and then if they do, post the BBOT back, and go ahead with new bridge purchase. Or measure the gaps between holes and see if anyone has a BBOT they can also measure and compare?

Yep the TH is warm/vintage, the AG is much more modern-focused sounding. From what I`ve read the AG is the least Aggie-sounding Aggie amp. Both are good though. I`d say you can get near the TH with the AG, but not so much the other way round.

I reckon the US Fender 2012 - 16 Series may well become a bit like the JVs, as imo they really upped their game on these ones, both Precision and Jazz alike.

Elvis had the looks, Roy Orbison had the voice, Jerry Lee had the reputation, but Buddy Holly had the songs.

Bought a semi-acoustic guitar from Shaun. Great comms throughout, item arrived well-packaged, good transaction.

Yep, Glen Matlock was the star of the day for me. Amidst many very technically great players, sheer entertainment stood out, to a standing ovation at the end of his shift. Additionally the one stand that seemed to be busy all day was Promenade Music, who had a range of affordable and regular instruments, rather than expensive and niche. Is the LBGS seeing a shift in the balance here, standing ovation to a Sex Pistol who played a Precision through a battered Fender Bassman stack and people flocking over a stall with off the shelf instruments?

Sultans of Swing = pure quality, awesome track.

Seasons in The Sun, by Terry Jacks. The bass in that is quite up in the mix, and pretty simple but very effective. From that point on I realise I was always subconsciously listening out for the bass, without even knowing what it was.

[quote name='Low End Bee' timestamp='1488466647' post='3249209'] I kind of know what you mean Lozz. My programmable Sansamp sounded better to my ears even without any mid control. I persisted with the Fly and now I'm happy with what comes out of it. It is probably a bit less warm to my ears but a bit more defined? Anyway. I'm enjoying the luxury of having both. I will keep the old faithful for recording as I know it does exactly what I want in the studio. [/quote] Yes, in all honesty I reckon that the Fly and the MK2 will probably sit in the mix better, rather than the MK1 which seems to power it`s way through, lacking in any finesse at all. But then finesse has never been my accomplice, hence my preference for the MK1.

Assuming I remember, whenever I buy an instrument I request Parcelforce to not be used as the courier. Not because I`ve had any issues with them, just that they don`t insure musical instruments.

It just didn`t seem to have the same sheer "oomph" as the regular Sansamp MK1 Bass Driver - pretty much my experience with the MK2 Bass Driver as well. Noting wrong mind, just preference. The Para Driver sounds like the MK1 Bass Driver but with sweepable adjustable mids. Poifect

I had one for a couple of hours, but preferred the Tech 21 Para Driver that I`d also ordered, so the Bass Fly went back. Shame, would have been great to have just the Fly to cart about but had to go with my ears.