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Ed_S

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  1. Not the ones we usually get on a 4 band night with 15 minute changeovers 🙄 My band have commented that they like to hear me playing a MB head more than various others I've taken along over the years (kinda shocked me to find they had an opinion tbh.) but they've never once taken it further than 'yellow and black car stereo is good', and they'd probably be surprised to find it's actually at least 4 different ones that they think are the same. I really want to say that yes, you can hear a slight difference in the upper-mids and highs... but sadly, on that evidence, I'd have to say it's leaning towards no, they probably all just sound like a MB in the room.
  2. I wouldn't worry about it being more power than you need - I've never noticed any sonic benefit from driving any of the LMs hard like you might with a tube amp, so just turn the master to where you need it. If that's never above 3 then so be it. Try and get the LM800 a bit louder before you decide that it sounds the same as the LM2, though, as I'd say there are some subtle differences. You might even find that you like both of them for different reasons, which is where I'm at.
  3. Your NRD thread suggests you have an LM800? If that's the case and you've borrowed an LM2 so you know what they both sound/feel like with your cab, then for my money the LM3 has broadly the basic sound of the LM2 but with a bit more of the feel of playing the LM800 - it's just a bit less rounded and a bit more responsive. If you prefer the sound of the LM2 to the LM800 then an LM3 would probably be alright. If you prefer the feel of the LM2 to the LM800 then an LM3 might not do it for you - I'd hunt for a low mileage LM2. For the record I have LM2, LM3, LM800, F1 and Nano300 heads and have played them all through the same 4ohm 104HR cab in the same room with the same bass and the same band playing the same songs. That said, my opinions are entirely subjective, any comparison is still mostly unscientific and free advice is generally worth exactly what you paid for it 🙂
  4. I'd go for the Peavey. Years ago I played through one very similar (though it had obviously had an infinitely harder paper round) at a rehearsal room and it actually became a little bit on-fire while I was using it, but it didn't stop working! At the time I thought the guitarist was really digging my playing, but it turned out I just hadn't seen his "is that smoke?!" dance before.
  5. Nah, I get that totally - and I'm not a lawyer or an electrical engineer so I freely admit I have no idea what you can or can't protect, but I have no reason at all to doubt what you're saying. I would guess, though, (and that's all it is - a guess) that being an authorised service centre for anything carries some weight in law, such that any subsequent liability is handled. I always assumed that the board-swapping which goes on in the name of repairing things these days is partly down to cost/benefit analysis and the complexity of the boards involved, but partly because they're tested and certified as-is, and they wouldn't be certified any more if somebody, irrespective of their level of skill and experience, had taken a soldering iron to them and returned them to service without the correct re-testing? As for the road-worthiness question, it's really difficult isn't it - if they were more sturdy then they wouldn't be as lightweight, but if they were heavier then they wouldn't be as easy to pull/vibrate off a cab, but then if a heavy amp still managed to fall off a cab would it be any better off?! If I were actually 'on the road' in a touring sense I'd rack things up.
  6. I've still got my first LM2 from early 2007, an F1 from late 2010, and an LM800 that I want to say is maybe somewhere between the two but it's not here to check. I'm yet to experience an issue with any of them, but if/when I do then I'm resigned to giving them a WEEE responsible send-off and remembering the good times. If I get 10 to 15 years out of a lightweight £500 amp with no more servicing than blowing the dust out of it, then I'm genuinely alright with that. Of course you don't have to be alright with it (that's completely your call) but for all the other benefits they offer me, I am. In that moment at a gig where your amp won't turn on, though, I don't think it really matters what class it is and whether it's repairable or a total loss - it matters to me that it fails safely (I don't think anyone has suggested thus far that one class of amp is any more likely than another to fail in such a way as to present a hazard) and that I have the space and weight capacity in my gear bag to pack another one that's able to take over with minimal fuss. Also, it's very nice to know that your amp can be fixed after the fact and that the manufacturer is ready and willing to help, but everyone singing the praises of great service departments are also tacitly admitting that their gear developed a problem or failed in order to require that service. My personal experience to date means I can't reconcile the idea that amps which have failed but proven to be repairable are better than amps which haven't failed but repairs of which are widely accepted to be uneconomical.
  7. I think in this thread, heresy might be to say that my ABM is possibly my favourite amp ever, and the RM800 just couldn't get close so I got rid of it... ...but only if I drop into conversation that it's an ABM1000, which has a class D power stage. 🙂
  8. I reckon it's the overall design of an amp that matters - if the designer has a vision for the end result, understands the components they're working with for all they are (and aren't) and knows how to use them intelligently and to best advantage, then the fact that one of those components happens to be a commodity class d power module is neither here nor there. I just wonder how many amps exist for no greater reason than to present something with the company logo on it for sale in a particular area of the market, and how much they might unfairly sway opinion on the underlying technology if they fail to inspire. At home I actively prefer Diet Coke, but down the pub I find all Coke tastes roughly the same. 🙂
  9. I've had a few annoyances like that, but I think the worst was when I called a shop to check that something was in stock, explained that I'd be travelling a fair distance to pick it up so really wanted to know that it was there and in good condition before setting off and was duly assured that it was both and would even be held for me until the end of the day. Given the theme of the thread... I made the journey and arrived to find that the stock check and reservation had, despite taking a while on hold, both been on computer only and the item wasn't actually there at all. I got a half-hearted 'sorry about that' as the bloke turned away and I was left standing at the counter like a lemon. Thankfully he didn't try to tell me that it would be in stock if they got another one in! 🙂 Unsurprisingly they're no longer trading.
  10. My mum's record collection gave me a decent start with Rainbow, Whitesnake, Saxon and Meat Loaf being firm favourites, then my uncool mates at school added the likes of Guns n' Roses, Skid Row, Metallica and Megadeth, and CDs on the front of magazines filled in stuff like Dokken, Helloween, Nightwish and Hammerfall. We had a CD shop just down the road with a massive second hand section where I'd spend a lot of time flipping through the CD cases, filling in gaps in collections and picking up random stuff with cool covers. That added a fair bit to the mix but then everything started to head towards cheap CDs on Amazon and eventually streaming. Radio didn't serve me very well at all, we never had satellite/cable TV, and the cool kids at school were obsessed with Foo Fighters, Green Day, Muse and Aerosmith (none of which I ever connected with) at the point where I was getting interested in playing guitar, so if it was left to those avenues of discovery who knows what I'd be listening to.
  11. That's the way I went when I had a candy cola precision. A new black guard on the USA Standard, the white guard from that onto a fiesta red Squier CV, and the tort guard from that onto an olympic white bitsa I was making. Order restored, nothing wasted and they all looked 'right' to me.
  12. I've had mine since early 2018 and used it on various gigs and rehearsals in '18/'19 before things went strange. It was always plenty loud enough on its own in a rock/metal band up against two guitarists with half-stacks and an energetic drummer. Agree that the single handle on the top isn't all that helpful, so I bought the cover for the extension cab (which has recessed side-handles) and just attached surface-mount handles where the holes were. I also added wheels for the full mobility experience and extra ground clearance over beer-puddles, but that's obviously got potential to cause problems stacking it on an extension cab. Having heard it, though, I was confident I wouldn't want to do that.
  13. If it's a close enough comparison to be any use, I have a 2021 made SR305eb and I'm quite happy with it for the money. The woodwork, frets and finishing seem to be at about the same level of finesse as on my SR506e, the stock tuners are solid and the powerspan pickups and electronics work effectively and sound good in their own right. The worst thing for me was the B125 (so B120 for the 4 strings?) bridge which had a couple of issues... - some of the grub screws for action adjustment kept working loose so a couple of the saddles would eventually hit the deck after playing for a while - fixable with some thread-lock, but irritating. - the intonation screws don't pass all way through the body of the saddles (like they would through the barrels on a BBOT, for example) so if you need to really pull a saddle back, you can find that you're at the extent of the available adjustment unless you get a shorter intonation screw from somewhere - or grab a hacksaw. Similarly, if you need to really push a saddle forward, you're never sure when it's about to come off the end of the screw. I set mine up with Warwick Red 45/65/85/105/135s and had both situations happen. Again, fixable with a couple of 50p packs of screws from Amazon, but... As soon as I knew I was keeping it, I bought mine a B305 bridge which solves both of those issues but was only available in cosmo black, so that prompted me to change the tuners, knobs and straplocks to match. I've just totted up the invoices and it owes me £395 all-in, but I find that completely acceptable for the end result; it looks quite classy and I'm confident it'll be a really solid backup when I get back out and gigging. Suitability for metal: confirmed
  14. This is probably somebody's ideal custom-shop build specification, but... - Multiscale - Fretless - Single-cut - Ramp - Nitrocellulose - Sunburst - Roadworn / relic - Tort pickguard - Gold hardware - Wood pickup covers / knobs - Angled pickups - Loads of knobs and switches
  15. I don't necessarily play it any more than my others, but I do have one that fulfils the brief - my 2018 Ibanez SR655-NTF. I always liked the look of the natural 605 but never ended up buying one because I wasn't crazy about the Bartolini pickups, so when the 655 came out with CNDs instead I decided it was time. My local shop had just received two, still in boxes, so I headed over and they got them both out for me to choose between. One was alright... but the other was just instantly 'my bass' and there was no way I was going to leave the shop without it. I actually gave it a clean, fret polish and restring just yesterday, and swapped the tuners over to GB707s while I was at it. Here it is with distinctly less pick dust in hard-to-reach places than usual. You'll have to imagine the smell of Silvo and fretboard conditioner yourself! 🙂
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