Ed_S

Sadly true, but a lot of stereo power amps go down to 2R on a single channel so one of those and a preamp is always an option. To be honest I don't use both cabs together all that often, but if I think I might have trouble hearing myself then the taller stack helps sort that out whilst keeping the stage volume down. And if we've got a bit of a bigger stage, it looks pretty nifty as well! I'm not using them to deafen anybody, I promise 🙂

I've just done some very rough calculations and I reckon I've sold about 40 basses on in the last 20 years, and I regret selling about 4 of them. If I'm honest with myself, though, only one of them would actually be any use to me now, so that's.. what.. about a 2.5% legitimately-bad-decision rate? Leads me to believe I get rid of things for decent reasons, which is good because another 4 are currently on the block pending a decision. If you already regret selling loads then maybe you just need to get a decent padlock and have a word with Big Yellow 🙂

A 4ohm 2x12 and an 8ohm 1x12 to give you a 2.67ohm 3x12 rig with all three getting the same power - why is that so odd? I use the G2 Super Twelve and Midget, which were sold to work together exactly that way, and the Super Twin is just the G3 Super Twelve as far as I can tell.

I think 2.67ohm capability would have made it more interesting to me personally - I have a matching 4ohm 2x12 and 8ohm 1x12 which it would have stacked with very nicely. I'd maybe think the same as you about the potential userbase, but for the fact that it's apparently been produced in direct response to players asking to bridge the 1200. I guess that in itself perhaps suggests they want their 1200W into a single cab, which is fairly likely to be either 4 or 8 ohms - fair play. But then, is giving 750 to somebody who just explicitly asked for 1200 really going to appeal if they're already rejecting 600?

You know, I guess that might even answer my other question about the 3/2 vs 2/3 on different SR models. When you retrofit the premium tuners to the non-premium basses, the G does take on a bit of a naff-looking angle due to the increased width of the shaft compared to the stock tuners. Putting 3 underneath means the G is further to the right and therefore straighter. I can live with that slight visual demerit in trade for the much nicer-looking tuning keys on the GB707s, though.

Have to agree. Never quite worked out why the lower numbered 5-string models are 3 over 2 but the premiums and prestiges are 2 over 3, though. Not that it matters at all - they both look fine. I also quite like the somewhat similar Spector headstock that tends to grace their 5s, but I'm much less enamoured of the version that seems to be used more often on their 4s.

I'm always a little surprised by how many people I know who say that a drink makes them believe they'll play better or have more fun on stage. Having a drink before getting on stage makes me firmly believe I'll play worse and it becomes a self-fulfilling prophecy so I have no fun at all. I'll try to concentrate on things that just need muscle memory, fixate on the mistake that just caused, make another mistake whilst analysing the last mistake... all whilst totally ignoring the audience and feeling quite disconnected from my band and the music. In short, I'll actually play significantly worse because of the knowledge of the alcohol, not the alcohol itself. I know that I can enjoy what the CMO would call an irresponsible amount of Scrumpy Jack in the comfort of my own home, then pick up my bass and play along to Spotify just fine whilst feeling well and truly under the influence, but that knowledge doesn't translate in any way to public performance so I gig sober.

I put D'Addario EXL160S medium nickel rounds on my Talman 30 and thought it felt and sounded loads better for it. It had previously got D'Addario ECB81S regular-light chromes on it, which were alright for tension but just a bit uninspiring in the sound department. I installed a set of Seymour Duncan quarter-pounders too, which helped it to sound even more assertive when the heavier rounds went on. It's basically got the picking/plucking-hand feel and overall sound of a standard scale P/J but the novelty and/or utility of being a 30".

I reckon it's a thing because we make it one - we're looking out for and dwelling on anything that didn't go quite as well as in the great rehearsal we just had, where in any other circumstance we'd just dismiss it and move on. It's like I know that one beer doesn't affect my playing but I'm looking out for mistakes if I've had a drink, which maybe even contributes to me making the mistake in the first place, and if it doesn't then being disproportionately aware of it probably contributes to me making the next one!

I found out by accident that I'd ended up playing some basses with longer scales than others because I tried a new brand of strings and they weren't quite long enough to get over the nut before starting to taper. Nobody in the shop told me when I was buying the basses in the first place, and at that time I would have been looking in the printed catalogues rather than on a website to find out myself. I just worked on the basis that a different instrument is going to feel different because it is different, so I blindly switched between 34" and 35" for years and never knew. Talking specifically about my Spector Rebop 5s, as well as the bridge being where it is in relation to the body, I've found that the overall body shape at the upper bout when seated, and the rear strap button location when standing, both also seem to naturally bring the whole bass back a bit which leaves the neck pretty much where I expect to find it after playing a 34" Ibanez SR. Contrast that with my old BC Rich Warlock 5 which was also 35" scale, but felt like it should come with field glasses to sight the headstock when seated and forced you into back-injuring contortions when standing, and I'd have to conclude that overall ergonomics affect playability much more than an inch in scale length.

I once saw Oliver/Dawson Saxon at The Trades in Rotherham. My mate's band were supporting and their bassist sounded great with an Orange OBC410/115 stack and his AD200 just ticking over. Dawson had two Ampeg SVT something-pro heads going at full chatter through a pair of matching 810s. Even with my pro-plugs in it was punishing on the ears in such a small venue, and it was hitting me in the chest so damn hard that it felt like some sort of arrhythmia kicking in. I lasted maybe a couple of songs before I had to admit defeat and walk out. There's a lot to be said for staying venue-appropriate. I think modular vertical 3x12 is my favourite configuration and the most I'll ever require on stage. A 1x12 for when that's all I need, a 2x12 for when I need a bit more, and both of them together for special occasions. In reality, though, my absolute favourite cab is the one that I don't have to bring, move around or take home again - the one that belongs to the headliner or the venue that I can just plug into for 45 mins and then offer thanks and/or a pint in rental. I'll tolerate and make-do with a lot where that cab is concerned! 🙂

Yeah, totally agree if you've got a real attachment to the instrument. I didn't in that particular instance so I moved it on before it got any worse - pointed it out of course, but ultimately left it to the next owner to decide whether to get that job done. I actively prefer the sound of NPS rounds these days, though, so whilst I didn't switch to them to avoid fret wear, it's an added bonus that they're a bit kinder in that department.

I like the string tension I get with Dunlop Super Bright rounds through the body on a US P (or J for that matter) as they're naturally a bit bendy, but the through-body stringing seems to stiffen them up a little so they end up just slightly more flexible than my usual D'addario XLs, which I really appreciate when I'm playing with fingers instead of a pick. If you meant just their flats, sorry, I've never tried theirs and I'm not likely to. I really don't mind flats as much as the next statement might suggest, but every bass I've ever put flats on has sat completely unused after the initial novelty period - several to the point of selling them on!

I used to really like the sound of fresh steels on my American Standard, but the frets on that bass were so soft that the steels made an absolute mess inside a few months. That was with ProSteels, which I always found to be relatively kind to everything else. I think Warwick Reds NPS are unpleasantly rough (especially the B string), so if the steels are anything like, I dread to think what they'd have done to that bass!

For me, the most pleasurable part of playing music is definitely gigging. Don't get me wrong, I love the general feeling of having played a great gig as much as the next guy, and seeing a room full of people having a great time is absolutely rewarding, but for me it's actually much more about each individual performance. It's that thing with a bit of a life of its own that you create as a complete one-off in that room on that night. Even though it might be the same songs as last night it still reflects how you were all feeling, how the audience was reacting, and how you were feeding off each other as the night progressed. None of you could have done it on your own, all of you together will never do it quite the same again, and you can record it and video it and stream it but it'll never quite be the same as having actually been part of it. For me, it's all about being part of that.

In the long and proud tradition of recommending what you own... my gigging combos are a Markbass CMD121p (1x12) and a Fender Rumble 500 v3 (2x10). Both are relatively light and compact, though the Markbass wins on portability. They both put out around 300/350W on their own (500W with another 8ohm cab) and are capable of handling a backline-only gig in a medium sized venue. They both seem to be about £600 new at the moment, which seems reasonable - given the price of everything right now - for what they do and how well they do it. I do get the allure of the second hand market, but I like a warranty. The currently advertised Markbass is a relatively recently released new version with an updated amp section - I'd be tempted to see if there are any deals to be done on the older versions like mine with the 'Combo Head 2' amp section if the Markbass appeals to you. The Fender has a single handle on the top, which makes carrying it harder than if it had side handles, so I fitted side handles to mine. The Markbass has furry carpet covering and no feet (just stacking corner protectors) to keep it clear of often-beer-soaked venue floors, so I fitted rubber feet to mine. The Fender has a cloth front grille and switches/jacks on the back which might make it more susceptible to damage in transit, so I bought it a cover and I'm careful how I load it. The Markbass has a heavy steel front grille and a flat back but the switches and jacks are in a recess at the bottom of the amp which makes them a literal pain in the rear to access... so I swear at it profusely and eventually use the torch on my phone. Nothing's perfect, and I like them both for different reasons! In light of what you've just said re: venue and style of music, either would do the job perfectly well. If it was my gig, I'd probably take the Fender. I absolutely can't knock the head and lightweight cab/s method either, but there are so many combinations and permutations that it's very hard to offer a review like you can for a single unit.

I decided that a backup instrument and the ability to bring it into use without any scrounging round is the most important thing to me. To that end I have a cheap spare bass in a gigbag with a strap, cable, tuner, passive DI box, a couple of picks and a fresh packet of screw-in earplugs in the front pocket. In the absolute worst case scenario of literally all my main gear being wrecked or nicked, I could get by with that into the desk - it'd be in tune and I'd not get blisters on my fingers or ringing in my ears. In the event that my backup bag got wrecked or nicked, I'd be annoyed but not exactly heartbroken. The DI box might get replaced by an Elf and its power/speaker cables depending on how it all tessellates. I have spare cables, batteries, fuses, basic tools etc. in my main gear bag, but although I do carry spare strings, I've seen enough on-stage string changes to know it's not a good look.

True.. true... but I couldn't really recommend an amp I bought on a bored whim during lockdown #1 and haven't even been bothered to grab a cab and power up yet 🙂 It comes with a nice little bag, if that makes any odds! I could also have voted for the Sansamp as I usually have one of those with me as well, but nah, team Nano! We played as local support for a band on their UK tour and the bassist was sharing his cab. Their tour manager was stood on stage giving mostly unhelpful directions as we were setting up, one of which was that I couldn't put my bass head on top of theirs as it could crush it (it was a GK 2001 RB - notoriously frangible) so mine would have to go on the floor at the side. I acted puzzled, pulled the Nano out of my gear bag, held it up and asked if he was absolutely sure. Was worth it for the bemused look on his face.

I'll vote for the Markbass Nano 300... because I've actually ended up using it as my 'main' amp. I have others to choose from, but the Nano is just a great little amp. For clarity, I'm talking about the original red Nano, not the new gold Nano II - I've not tried that yet, but will probably add one to the collection before too much longer. I have to admit the GK MB200 is really nice, though. With everything set to noon, a P-bass on full in the front and a big ol' 410 or 215 out the back it's just a great classic rock tone, but the Markbass is a bit louder, more versatile and better suited to my band. To keep with the thread, I have a TE Elf as the tiny backup for my Nano, but to be honest I don't know whether I like it or not. Or even if it works. I should probably plug it in and check at some point.

The neck on a 4 string J is just too skinny for my tastes, but the neck on a 5 string P is like a medieval weapon and all the body dimensions just look jarringly wrong; it's like somebody took a picture and stretched it sideways instead of scaling it from the corner. To my eye, the offset J lends itself much better to being a bit wider... even if it doesn't sit properly on a stand. So my particular joy would be a 4 string P and a 5 string J. Of course there's the matter of the Vol/Vol/Tone control layout, which really needs changing to Vol/Blend/Tone to be any use to me live as I like a single volume control. But then that's no major task since taking the bell-plate off a J to make adjustments or see why your bass isn't making any noise is much easier than taking the whole front off a P. Swings and roundabouts. Or should that be rotosounds?

I spent the first 10 years turning my nose up at Precisions and heading down the black-and-pointy 5 string path; BTBs, Warlocks, Vampyres etc. Then the P happened because I finally tried one and thought it was great, so I sold up and moved back to 4 string mostly-white Precisions for 10 years. Now for the last two years I've switched back to 5s, but this time it's smaller-bodied basses like Ibanez SRs and Spectors that look to be the likely flavour of the decade. I'm still keeping my favourite P (which ironically is a Maruszczyk rather than a Fender) so I can nip back for a bit whenever the mood takes me, but the others are shipping out. So yeah, it kinda happened and then un-happened to me, but I'll always like the sound of a P and don't regret giving it a good run as my main bass. Play what you're enjoying for as long as you're enjoying it, and feel free to have a change every so often.

I don’t have any real experience of the Yamaha you’re looking at - sorry. I’ve seen and handled them in a local shop and my immediate reaction was that they didn’t seem as good quality as the RBX I had years ago. The fret ends in particular weren’t all that well finished. I’ve never plugged one into an amp so I couldn’t comment on the pickups.

I have a GSR180 which I bought as a cheap backup for gigging. Fortunately I've never needed it at a gig, but I've played it at a few rehearsals and it sounded really good - quite punchy and lively. If you've tried one and you like it then I don't have any reasons to tell you not to buy it. I also have a GSR200b which I bought on a whim - no real reason other than I liked it and it was incredibly cheap! It's about the same build quality as the 180 and uses a lot of the same hardware apart from the active bass boost... which gets mixed reviews but if used sparingly actually sounds alright. Both needed a clean to get the factory dust and grime off them. Both needed a restring as the factory strings were appalling. Both came with very cheap plastic control knobs which I would swap for metal ones just because they look and feel nicer. Both are great basses for the money.

You can’t go far wrong with a P or J, but personally I’d look for the best deal I could find on an Ibanez SR - ideally an SR500 or better. They’re well made, sound versatile, really comfortable to play and you could argue they have a bit of an 80s vibe.

In my experience, some MIAs are better than MIMs and some really aren't. I'd say they tend to feel more pleasingly tactile, but playing and sounding better is not so consistently the case. I reckon the trick is to buy the one you've convinced yourself will be an 'upgrade' without selling or trading in the one you think you'll be bettering. It's only after the initial excitement wears off that you're going to really work out whether you've achieved what you hoped, and it's a massive drag when you realise it's not gone your way and you've just lost the best one you ever had... and paid for the privilege of losing it. The best I had was a MIM Standard from right after they made their comeback (2009ish maybe?) and it would knock anything I've owned since with Fender written on it into a cocked hat - including a couple of MIAs. Sadly I traded it in to get a MIJ which I'd convinced myself would be so much better. I have very few selling regrets, but that's one.