Ed_S

I've placed two orders with them, had one Saturday delivery not turn up and one item turn up on-time but defective and had two really poor customer service experiences including feeling very much like I was being accused of breaking the defective item myself. Consequently, I won't be shopping with them again.

Theres one place that I play with a sound guy who refuses to take a DI from anything other than his own box and demands that the bass be plugged directly into it, then anything else you might have take its feed from the parallel out. In the past I've gone along with it as it wasn't worth the argument (just a bit annoying that you can't mute properly to tune) but next time will be fun as I've started using a Digitech Drop pedal instead of a dedicated bass for a second tuning we use. Hopefully I can make him stoop to using the sansamp on the end of my pedalboard or half the set is going to sound really odd out-front!

Softalind Pure (or ViscoRub if you prefer more gel-like) is my personal preference - I use it every day and have never had a problem. Purell, however, dries my hands out like crazy.

I tried a 4 string Jazz just before xmas and it was 'alright'. The finish on the back of the neck was like silk, the whole thing was very playable with a better than average setup out of the box and it sounded just like a Jazz should. However, there was slight damage to the board where a few of the frets had been installed, the board itself was a very average looking piece of wood, I could get my fingernail down the gap in the neck pocket, and the bridge pickup rout was quite noticeably big - or at least big for the pickup that was installed. I'm not a fan of the thin finish that looks almost like orange-peel over the more obvious grain in the wood either, but I know from past experience that's just how they are. I take Professional to mean that it's just a comfortable and dependable tool to do a job and should be put to work in order to pay for itself as many times over as possible before needing to be replaced, and yeah, it'd probably make a sensible business expense.

I end up with the bass knocked back, too, and then the mid/high pushed forward a bit. It was interesting to find that the ABM and RM sound similar enough to come home wearing almost the same EQ having been in the same room but months apart, hopefully meaning that in the event of a failure, you could just mirror the ABM settings onto the RM and carry on sounding roughly the same. Hope your newer 600 and 500 will be as good a match as my older 1000 and 800

After starting out on 4s (as I guess most people do) I moved fairly quickly to 5s and then used them exclusively for all the reasons already given and never had to worry about switching. Sadly, for my personal tastes, the one important thing that a 5 string Precision can't do as well as a 4 string Precision is look 'right', so when I wanted a Precision (and it had to be a 4) I resigned myself to a bit of re-thinking! I can now happily switch between 4s and 5s, and make a point of playing both as equally as possible to keep them fresh in my mind.

[quote name='barneyg42' timestamp='1482596686' post='3201746'] Anything recommended for a skint bassist who can't afford to go down the custom fit route? I got some ACS Er20s on the web and they just kill the sound too much, we sounded like an acoustic band as opposed to rock. I know they are supposed to cut things to a certain extent but these seem too extreme! [/quote] Doc's Proplugs - I've used the vented ones for years at rehearsals and gigs with my melodic metal band, plus any gigs I go to watch and even just down the rock bar in town. They attenuate the high frequencies more than the lows, so they take away the 'fizzy' top-end from distorted guitar amps and cymbals but actually make hearing the bass easier when on stage. They aren't extreme or industrial hearing protection so I still find that my ears can be a little 'dull' if I've been somewhere brutally loud, but it's always been the kind of thing that's back to normal the next morning.

[quote name='Lozz196' timestamp='1482497669' post='3201064'] If you feel tempted to move the ABM1000 on Ed, I`d be happy to look at taking it off your hands. [/quote] Heh, no temptation in that direction right now, but I'll give you a shout if I ever start edging it closer to the door! No breath-holding, mind...

[quote name='wateroftyne' timestamp='1482492413' post='3200988'] That's why I gravitated back to the Walkabout, and latterly the Handbox R-400. Manageable, with full fat taste :-) [/quote] Aye, don't get me wrong, I know just what you mean - my equivalent is the Ashdown ABM1000 (probably similar to your HB in size) and if getting the valve head did anything (other than my back!) it was to highlight some of the reasons I like the class D Ashdown so much; it shares a lot of the 'feel' of playing a big lump of steel and glass. That said, it still misses out on a lot of action because it won't fit in the back of my laptop bag and join me on the train to work and then onwards again to sound check in the evening. I'd love to say that if I could only have one amp it'd be the Ashdown because it sounds and feels great to play and is light-ish and very powerful, but I know it's still inconvenient for a lot of what I do, so I'd take the best of the featherweights every time.

I still firmly believe that my first lightweight head and cab (MB Little Mark II / 104HR) was/is better than any of the heavy gear that I'd owned before it, and it's still the benchmark by which other gear gets measured when I'm trying and buying. That honeymoon period must be well and truly over by now - in fact, looking at the stickers, it'll be the 10 year anniversary in April! I have a 200W all-valve head and I'm not going to tell you it's not a fun thing to play, but it's sure-as-hell not a fun thing to carry and I'm confident that it sounds no better in the context of my band than my usual lightweight rig, so I'm going to keep my back happy and keep travelling light. [quote name='wateroftyne' timestamp='1482436153' post='3200637'] It's a Coke / Diet Coke thing. One day you accidentally buy full fat Coke, and MY GOD it's nice. [/quote] But some people have a weight problem and need to resign themselves to the fact that Diet Coke helps them to manage it. Some people even prefer Diet Coke 'just for the taste of it', as the adverts used to say! If it makes any odds, I'm in both categories

Very nice bass indeed. I swapped an SR505 for one and really prefer the Nordstrand designed pickups to the Bartolini MK1s.

Not sure whether they're keyed alike or to differ as I only have one MM case, but these are what mine look like just in case it helps you to ascertain whether they are in fact all the same and, if so, narrow down the search for some second hand originals: [attachment=225947:musicmanCaseKeys.jpg] Maybe talk to the UK distributor as they are, essentially, just spare parts?

This thread has prompted me to finally sort out the B string on my StingRay 5 which has been slightly floppy ever since tuning down half a step. The application of a new set of Power Slinkys seems to have done the trick! They're a bit hard on the finger ends at the moment as I'm used to 40-125 and have gone up to 50-135, but they feel much more responsive to play on and they sound absolutely great. Granted it's not a 'cheap' bass, but it's not a mega-expensive one either, has a normal scale length and can, with the right strings, have a very un-floppy B or even Bb.

[quote name='thegummy' timestamp='1470574750' post='3106796'] According to a lot of people, the Squier Classic Vibe 70s P-Bass is better and cheaper than the Fender standard P. That wouldn't surprise me if it's true, especially the pickups, because Squier CV guitars have better pickups than standard Fenders. It does have "Squier" on the headstock though which may or may not matter to you. [/quote] I've had both and unfortunately that wasn't my experience. The 70s CV was nice for the money, don't get me wrong, but it had a few small finish issues out of the box and the pickup was, to my ear at least, quite bland. Changed the pickup and gigged it for a while on those "I'd prefer not to take my best gear" gigs, but then after a while the fret ends started to lift and become noticeably sharp whilst playing so I moved it on to somebody who was happy to put the money into getting that sorted. I just couldn't do with the fuss and I had my eye on something else anyway. The MIMs (I had a pair, one W/W/M and one B/W/R) were great - they were solid, had no fit-and-finish issues and the pickups had some real grunt and grind to them, for want of more descriptive terms! Played some of my most memorable gigs on those basses and, if I'm honest, some days I kinda regret selling them.

[quote name='jrixn1' timestamp='1469198439' post='3096577'] Since it is the same product from the same company, is it fair to reason that if their "500W" is more like what you and I would call 250W, then the original "120W" was more like 60W? So the power in the new version has quadrupled. I'm also quite curious about these, and perhaps I am trying to convince myself to get one! [/quote] [url="http://medias.audiofanzine.com/images/normal/hartke-kickback-12-210427.jpg"]This[/url] page from the manual of the original one seems to suggest that it was 120W RMS into its built-in 8ohm speaker. I've gigged with a Hartke HA2000 and a GK MB200 in the past, both of which are 200W and did the job perfectly well, but usually with a decent 4ohm 4x10 or 2x12 so affording full power output and more speaker area. It's less the 250W rating that slightly puts me off getting a KB12, rather more the lack of ability to add another cab, especially when you perhaps didn't expect to need one but could have borrowed one at the venue.

I was quite excited to hear that they were being re-vamped with a 500W lightweight power section, but then I read the owners manual online and found out the 500W is peak (not RMS) and there's no inbuilt facility to add an extension cab, only unplug the internal speaker and use an alternative 4ohm cab - presumably because the internal speaker is 4ohm to match the minimum impedance of the amp. Of course, none of that is necessarily a problem if it performs really well as a standalone unit, but it curbed my enthusiasm somewhat.

The 801 wth a GEB7 in front of it is the exact setup I use at home when I'm not just going through a pod into studio monitors. It's a great little amp - sounds much bigger than the space it takes up and the eq pedal allows you to do a bit of fine-tuning.

[quote name='Cosmo Valdemar' timestamp='1464995969' post='3064607'] Mine arrived today. I'm a bit worried I've got a duff one as the drive knob does very little - it seems to act as a volume control until the very last turn of the knob when a heavy (and quite unpleasant) farty overdrive kicks in. Surely this isn't normal? [/quote] [quote name='PaulWarning' timestamp='1465026888' post='3064707'] mines the same now you mention it [/quote] [quote name='Lozz196' timestamp='1465034142' post='3064780'] Mines pretty much the same, no drive at all until 3 o`clock, then if hit hard there`s a bit of drive. Anywhere onwards it`s a bit buzzy. But then this is home use, not tried it at band settings yet. [/quote] Mine's the same, but not just the drive - all the controls seem to work that way to a greater or lesser extent. [quote name='BottomE' timestamp='1465067410' post='3065124'] Is the overall opinion tipping towards "disappointing" rather than "positive"? [/quote] I've been using my Sansamp BDDI for the last 9 years and I can't see me retiring it any time soon, but for twenty quid you can't really be too disappointed with the BDI21. It sounds alright and it'd get you out of a fix - errant beer doesn't distinguish between cheap and expensive pedals, after all! Personally I plan to keep it in the emergency spares box and offer its services to bassists from other bands who rock up to gigs expecting (misguidedly) to use my amp.

So if we say that at the point where any 1x12 just can't keep up because physics dictates that it will never do so, you will have suitable PA support and simply use whatever you have for monitoring - be that covering all or just some of the stage, it seems to come down to another classic 'any two of three': You can have your exact tone at any volume but it won't necessarily be in a convenient format. You can have your exact tone in a convenient format, but it won't necessarily reach the required volume. You can have enough volume to cover most bases in a convenient format, but it won't necessarily be your exact tone. I'm clearly just lucky that the convenient packages I use to produce enough volume give me tones I'm happy enough to call my own, but exact tone is where I'd make the compromise if I had to so it's moot point for me.

Whilst I wouldn't say that a 1x12 is all that I could [i]ever[/i] need, I've fast come to the conclusion that most situations I play in are generally self-limiting with regards the size of rig I need, and that a 1x12 is good for the vast majority. If it's a small pub the 1x12 does the whole job on its own, if it's a larger bar/venue then the 1x12 does on-stage monitoring and a bit of FoH along with the PA and if it's an even larger club then the 1x12 does on-stage monitoring and the house PA does its job as intended. If it's something non-standard that needs a PA to be taken along then you either hire one that can handle the room/space and use your 1x12 for monitoring, or you take your own and as soon as you're doing that it's probably fair to assume that you have transport for more than a 1x12 if the PA you own dictates that you need it. I genuinely don't think that I'm fooling myself into believing that I get a successful mix and a good sound; I play wireless and get out in the room during both soundcheck and sometimes even the gig itself, so I'm happy that what I'm hearing is what I (and my band as a whole) want to put out, and I've also had positive comments from sound engineers and other bands' bassists that go beyond the polite 'good set' etc. and actually make specific reference to the capability and suitability of my rig. Obviously the sound I want to achieve might not be the sound that every punter wants to hear, but that's the game; if we sound how we intend to and you don't like it then sadly you just don't like us - no hard feelings.

The two heavy amps that lightweight alternatives generally have to live up to for me are a Hartke HA5500 and a Peavey VB-2. Are they generally classed as 'hefty' amps?

Yeah, I don't think you'd ever have issues under normal circumstances - it'd just be if you tripped over and stamped on / dropped something heavy on one that I might expect a Boss type metal chassis to come off better. I have the grey tuner pedal too, bought as something to make a thomann order up to the point where you get free shipping I seem to recall. The tuner function never impressed me all that much (bit slow to track and not too clever on dropped tunings) but the blue LED on it is absolutely retina-searing! :-)

Not strictly a bass pedal, but I've heard of people using a stock Tube Screamer on bass so it's maybe worth mentioning that the TO800 Tube Overdrive is a very good clone. It's one of the plastic ones so I don't know how well it would stand up to regular live use, but tone-wise I actually sold the Ibanez TS808 reissue that I also owned at the time and kept the Behringer as it was every bit as good.

I didn't go looking for lightweight gear when I bought my first piece of it, but that's because I genuinely didn't know lightweight gear was 'a thing'. Since my first chance meeting with a Little Mark II and the realisation of just how much quite literal pain it could save me, it's become a choice with no significant element of compromise and it's formed part of every gear-buying decision I've made since.

[quote name='Paul S' timestamp='1463045395' post='3048001'] I am new to mine and, other than home practice, I have only used it for one rehearsal with one band. But even so I can compare how it performed to other amps/cabs/combos I have used in the same situation as, with that band, we always rehearse in the same room in the same studio. So the CMD121P with volume at 12 o'clock was loud enough for this one band in that rehearsal room but, as indicated above, it will probably run out of steam very soon. To get the same presence in the band from the Fender Rumble 500 I had briefly I had the master on around 11 o'clock. Using my Trace Elliot AH-300 into a Barefaced Supercompact I have the master vol on the TE set at 8 o'clock, with tons more available on tap. I may be wrong, but I feel I can then project that one direct comparison to how I need to set up the Trace Elliot/Supercompact at the various smallish venues I play with that band. Usually I turn up a little or leave it the same, so I think the CMD121P would cut it for those gigs - small pubs where 100 would be crowded. But I also know how much I need to turn up the volume for my other bands and I know that the CMD121P wouldn't be loud enough. For example, in my loud 'classic rock' covers band I need to have the Trace Elliot to 1 or 2 o'clock. I had to use the Rumble with the master pretty much on full but it started to object and was better with an extension cab. Which is very loud but has to be because the drummer doesn't do soft. That is even with PA support and just using it as stage monitor. I guess all this means that 'loudness' is a subjective thing right up until you start metering it, which would be a bit silly. [/quote] I think you're definitely right that it's all very subjective, but the fact that you're talking about it doing ok with a 100ish capacity venue is hanging about right what what I've experienced, though I seem to have been getting away with running a little less on the master volume, maybe due to size and shape of room/stage, which I suppose might have given me a distorted view of how much the combo has left to give; in itself a useful thing to bear in mind! As above, it's all still pointing to me potentially needing to take something bigger for backline-only gigs in bigger rooms, but on the back of this thread I might take the combo along to next rehearsal and see what it can actually do when you turn it up past noon. Cheers both for your thoughts - appreciated!