LukeFRC

Nae bad!

There’s your answer...

Or even a new fretted ACG and convert the fretted to fretless .... I’m not helping am I?

For the value of the ‘74 that would afford you a very nice new fretless from ACG?

I go through this process... -i have this bass. It’s a cool bass and I like it... -but it’s not getting played - not doing any harm on my wall though - but if I sold for X I would have them money for Y (or even do a trade) - I prefer Y to X - so regardless of market value or YOB I wouldn’t regret it. Its worked for me, “swapped” a JV p bass for a thumb (I added money) and a BB1200 for a L1000 I adore. And the thumb is up for a potential sale now... it works for me as a thought process and also helps with selling as you know the figure where dropping the price isn’t worth it for you

I like this. I had heard it on the radio, it's very Jamie T to my ears.

Plus Chris is an amazing guy.

for the best recreation of the fundamental I would be looking at a Basslab LBow ... and engineering that means there isn't a need to think about wood drying process... the most sonically transparent bass I had was a Peavey T40 - massive boat anchor with a giant bridge and almost complete isolation of the strings from the body - it sounded like strings vibrating with very very little coloration from the wood. Everything on it custom made for the job, and massive engineering steps taken in order to make it happen which set the direction for instrument manufacturer afterwards... so if we're after sonic transparent and microscopically researched and tooled instrument possible I would suggest a Peavey T40.

The problem is not only is it subjective but it relies on context and trend. Broadly Talkbass taps into the positive US attitude and gets excited and supportive of their small scale builders - so a lot of the top boutique names come from the states. In the UK we don’t seem to really like our builders being successful so aren’t as positive and don’t big them up as much - (another comment on barefaced handles anyone?) so we tend more towards US producers... once you get to a certain point how good Something is becomes less objective and the brand and your perceptions of it start mattering.

So maybe the whole “300w AB = 800w class D” thing is more conservative rated AB vs class D rating trying to quantify its peak power too. The thing I don’t understand is we’ve had this leap from lower powered amps to 4000w class D amps - but has there been an equivalent jump in driver technology?

Paul McCartney would say...,

As a solution getting timber that is dry enough in quantities enough for mass production a heat treatment makes sense. Back in the 60s when all these classic vintage instruments were from the wood would be left to air dry naturally for a longer time. I remember when I started playing Warwick made a selling point of their big sheds of air drying Woods they kept for years - stopped using that in their marketing when they stepped up the volume with the nu-metal Warwick boom

I’ll throw it out there that when the tech was putting a new transformer in my walkabout he did all the tests on the power stage - my one generates over 400w into a 4ohm load in test conditions....

That one has the benefit of being bi-amped ...

Thermal is like roasted maple necks etc .... I guess helps make wood dryer like older wood would be. sonic treatment is the idea that the wood sounds better on old instruments because the music has changed the structure of the wood or something? That one I don’t really get.

Ild be interested sticking one through a BFM jack and seeing how efficient that is

just checked: the one that sold on here secondhand was slightly more expensive than what Mesas replacement walkabout transformer cost to be sent from the US and fitted by their authorised tech. i would have been better selling the WB for parts and then buying the handbox!