Ed_S

I had the old Minimark 802, but ended up moving it on as I found it to be a bit of a 'solution looking for a problem'. I still have a Micromark 801 as that's a great home rehearsal or small gig amp, and I still have a Mini CMD 121p (LM3 version) as that's a solid pub gig amp. Whilst I loved how it looked (99% of the reason I bought it tbh) there was just nothing about the 802 that I specifically needed, and mine was noticeably heavier, more awkward to carry and less capable at volume than the 121p. I've not tried the new 802 with the Nano 2 bolted into it, but I have gigged with a Nano 2 for some time now and it's a great little amp for travelling light when you know there's a house/hired cab at the venue. Would I go out of my way to pair it with a 2x8 cabinet for gigging..? Probably not. If you've got as far as considering an NY121 cab and separate amp head, I'd give serious thought to a Mini CMD 121p; it really is a great all-rounder. If the pair of TE Elf 110 cabs really appeals and you want some for cheap-er, RichTone currently have a couple for £169 each in the second hand. Nowt to do with me and haven't see 'em, but they look to be in decent condition from the photos and have covers.

Absolutely - I’m all about the miniature and lightweight gear, but much of that gives plenty of cause for concern with dials and switches protruding from very droppable little boxes. Was lucky to find a suitable EVA case for the little TC head I’ve been using lately, which whilst not that tough is better than nowt. The best way of protecting this new offering would appear to be Calgon.

I personally think it's ugly, but I also question whether they've hit their utilitarian design statement. I still don't think I'd buy one, but I could maybe look past the aesthetics more easily if... - the back of it was completely blank so it could be used tight against a wall and transported safely laying flat - the power connector was on the side under one of the vents and the power switch was on the front panel - the amp controls and power switch took up only the left (or right..) half of the twin-tub front panel - a front facing patch-bay took up the other half of the panel, housing all the stuff that's currently on the back - it came with a flightcase style clip-on 'lid' that made it cuboid in transport and protected the panel/patch-bay

Preferably a celluloid one for increased flammability 🙂 That said, it'd be a funny "can I borrow your bass?" bass.

I personally have no issue with playing for free at charity gigs; music isn't my job so I have no pay expectations and indeed expect there to be out-of-pocket costs. I do actually have want to support and be associated with the charity, though, as I see those costs as a tacit contribution to their fundraising budget (spent immediately by them on entertainment for that event) and any photographs of me under their banner as being a much stronger indication of my personal support for their cause than, say, a bartender photographed at the same event. If I wouldn't smile for the camera as I put £50 in their collection bucket then I wouldn't play the gig as I see them as broadly the same gesture.

Yeah, fortunately neither are peeling yet, and I think given the lack of any kind of heating, cooling or humidity control in the gear store where their trunk is parked, if it was going to happen I'd have maybe seen the signs by now.

Yeah, that is a shame - sorry to hear they didn't get things sorted out to your satisfaction. That variability in experience is precisely why I shy away from giving any company too glowing a personal recommendation, though; I might consider that a company did alright by me, but in this case I was the one willing to accept a back-to-front cab as long as they confirmed that the ports (I know they aren't, but I forget the proper name..) firing in different directions was no sonic detriment, so maybe I'm a bad yard-stick to measure by. Thinking back, Alex's first reaction was along the lines of 'that actually looks pretty cool with the badges on either side', and I can see how some might not have been fully on-board with that as a customer service response. I'm used to my wonky stack now, and in fact when I put them in their road trunk for storage at the studio the fact that they can go in face-to-face to protect the grille cloth but still have the handles/feet facing the same way seems 'right' to me, so I'll mark myself out of any swapping and changing activities as there are many others like them.. but these ones are mine.

I think that's the main win from all this - that you've got them to sort your issue out and also finally make it clear for future purchasers. I like BF as well (I have a Super 12, Midget, Two10 and 2x One10s) but you're right - stuff goes wrong and it's all about how it's sorted out. My S12 had a buzz/rattle on one of the speakers, and the Two10 had a chrome corner missing - both issues were remedied with no fuss.

Mine arrived the same - 3 years ago almost to the day according to my camera reel, so it’s not news to them. I asked at the time about why it had changed and was told that it was to preserve the look of a vertical two plus one stack with new logos. Personally I wasn’t thrilled but decided I didn’t care enough to seek any remedy. Glad to read you’re getting yours sorted out!

For me it's more that I don't like the sensation of playing on the string closest to the floor whatever it's tuned to; if I play a 6 I'll find myself happily incorporating the G which I'd normally avoid on a 4 or 5. As it stands I play 5s which I mostly treat as BEAD 4s, but I can't actually use one of those because I treat them as 3s.

I get that. I've never smoked either, but I think the smell of a pipe being smoked will always be "the smell of a proper pub" in my mind.

One of the very few second hand bits of gear I've had was what turned out to be a well smoked Orange SP212 and Roqsolid felt-lined cover. Tried bicarb and various other things but the smell never left it, so it had to leave. Having experienced that, if I found myself in the OP's position it wouldn't matter how good the deal was; I'd be sealing the box back up and telling them to get it collected and refunded.

Good call. I fondly remember a session when I ran my MB200 with a totally ordinary Precision and a beaten rehearsal room 4x10; with everything at 12 noon on the amp and both knobs on the bass up to 10 it was one of those "damn.. that's the sound in my head" moments. Just a great blues/rock tone with a bit of drive but not overdriven, plenty of mids and presence but not harsh. Had a truly enjoyable few hours playing middle-of-the-road rock at reasonable volumes, but sadly the project went nowhere and with the gain/volume on that amp working as it does, I couldn't get the same sound at the somewhat higher volume I need for the bands I actually play in. So for me, it's the SansAmp BDDI v2. The original was good into the front of an amp (and saved the day direct into the PA a couple of times), but since the v2 came along with its mid controls I can just set my sound up on the pedal and throw it straight at the PA. It might be reaching to call it a signature sound, though. Techs seem to like what I send them, but to quote the guy a week or so ago - "Yup.. that sounds like a bass.. which is good!"

Though I now have to wonder... what's she gonna look like with an Ampeg on her?

Of the two, I'd have to take the HB (though I think the 'natural' version looks nicest, myself) purely because the nut width and board radius suit me much better. If it's a good example, though, you do seem to be getting a fair bit of bass for not a lot of cash. I've had a Harley Benton PJ5-HTR for a few years now, which I bought during a covid lockdown because it was cheap and I was bored! Whilst the one I received was rough out of the box and took some work on my part to get it playable, the bones of it are solid enough and I still use it.