Ed_S

[sup]I have a Fender Blacktop Jazz, which is a nice bass, but the best I've had to-date was this:[/sup] [sup][/sup] [sup]Absolutely earth-shaking thing it was, too. Sadly it was every bit as massive as it looks and made my back and neck ache in ways I never thought possible so it had to go. I never quite got over losing it sound-wise, however, so I'm currently in talks about getting a fitting replacement (also dual-P) made as a custom job for my 30th. Pictures when it comes to fruition...[/sup]

Spent this afternoon getting my girlfriend's white/rw one of these in order, and it's actually turned out really well... My thoughts: + Smooth, straight neck + Well fitted and levelled frets + Accurately cut nut + Hardware solid (if basic) + Nicely figured fretboard + Finish near-perfect (only one minor blemish on back) + Neck pocket tight + Neck alignment good - No shielding of routs / cavities - One tuning machine cosmetically different to other three - Pickup housing non-standard shape / size - Pickguard seems very soft plastic x Pickup not to my liking x Strings not to my liking So the good points really do massively outweigh the minor demerits, and the last two are just personal taste! With a couple of hours fettling time and the addition of half a roll of copper tape, some straplocks, new Rotosounds and the old pickup from my MIJ Classic 70s P, it's turned into a really nice second bass for her; absolutely amazing for the money, and the colour is great! [quote name='sprocketflup' timestamp='1370166531' post='2097068'] pics when you do, in full flow, volume up to eleven, please [/quote] Oh.. it'll happen, don't you worry! Edit: Kitted out and ready to go home. Phone camera, but...

My lass rang up and got the cheaper deal on one of these - cheers for the heads-up! She wanted something cheap-but-alright to keep in Eb so she doesn't have to mess with the tuning of her main bass when plonking along to CDs that are half-step-down. The deal is, however, that if it arrives generally sound and I do the setup (and add copper tape, decent pickup and electronics, better bridge, straplocks, new strings etc. from my bits-box as required) I get to gig it with my metal band! Gonna get some quality looks, not least of all from the band given that I'd sound-check with my 'normal' precision. Hope it's a good 'un when it arrives

[quote name='Evil Undead' timestamp='1368655767' post='2079998'] Ibanez don't make them any more so I can't go buy a new one. [/quote] DV247 (ok, they've got some bad press atm, but..) and Musik Productiv both claim to have them in stock, so you might be able to pick up a new one after all.

[quote name='Kirky' timestamp='1366531422' post='2053464'] I agree re the upper mids (and the lower mids). I had a 700RB combo before the MB Fusion / MB200 and I'm sure its the 4 band tone control that gives all of these amps the great sound they have. To Ed S, I' going to be in Sheffield in the evening of 10 May and could possible let you have the MB Fusion to try for a couple of hours - get in touch if you're interested. [/quote] Cheers for the offer, Kirky - sadly I'll be out gigging in Selby that evening (BotB type thing for a slot on the unsigned stage at Bloodstock - should be a laugh!) and knowing me, as I should by now, I'll probably have ordered the 500 by then

[quote name='Merton' timestamp='1366486011' post='2053205'] Whereabouts are you? I have two weeks of no gigs if you wanted to give the MB Fusion a go. Assuming you're nearby! [/quote] That's really kind of you, Merton - really appreciate the offer. Sadly we're about 200 miles away from each other as the Google calculates (not found a crow yet this morning to ask) so not really nearby! After watching some more reviews and thinking seriously about how much I need 800W and how much use I'd get out of all the push-button light-up stuff, I think I'm going towards just ordering myself the straight 500 to try. Hmmmm.. get paid on Monday

[quote name='obbm' timestamp='1366281724' post='2050412'] Use the MB200 as a pre-amp and take the line out into a good quality power amp. I'm sure you could borrow one to try it and see if it does what you need. [/quote] I've got a couple of Crown XLS1500s that serve double duty as PA / bass power amps, but even they, as light as they are, seem to defeat the point of the micro-head and single lightweight cab. I might give it a try at some point, but I'd be happier if I didn't need to cart a rack case with me. [quote name='Kirky' timestamp='1366286963' post='2050496'] I have a MB Fusion and a MB200 and like them both. I'm not sure how close they are tonally, I tend to use them in very different environments. I seem to remember reading a thread on Talkbass where someone was saying that the MB200 is quite different to all the other MB series amps. [/quote] That's what I was concerned over.. seems I was probably at least partially right to be. [quote name='Merton' timestamp='1366402513' post='2052282'] I bought an MB200 back in 2011 and fell in love with it, so much so that in Oct 2011 I bought an MB500. It was a great amp but I felt it was a bit harsher than the 200 - I think the 200 has really nice soft compression/limiting on the power amp stage which makes a difference. So I sold the 500 and bought an MBFusion instead. Haven't looked back, amazingly versatile amp and the 200 serves as a fantastic back up/small gig amp. TBH through the Super12 the 200 can hold its own on many gigs [/quote] Looks like I need to work out just exactly what it is about the sound of the 200 that I like rather than just grinning at it ...but it's so hard to actually describe. A big part of it is the 'attack' it has; if you play precisely and cleanly, it'll fire notes like bullets, but do it effortlessly and always be there waiting for the next. My Markbass LM800, as much as I like it, isn't as 'quick'. And there's that 'grind' (without it actually being overdrive) that matches up so well with the passive P's I play. And the way that it sounds like it's both sat back in the mix yet also completely present at the same time, without ever being too loud. It really is a whole load of things I've been looking for for a long time and everyone I've played with since having it has offered the same kind of enthusiasm without prompting, so it's not just me convincing myself because I want to; they know I go through gear like rain and don't feel in any way compelled to blow sunshine at any of it!! I completely agree about the 200 being enough for most gigs btw, and it wouldn't exactly be a massive hardship to take my LM800 as a backup / extra firepower if needed (it's certainly not lacking), but if there's a little box out there that can do what the MB200 does, just with 3-500W more tonk, I want it! Maybe it is just a case of taking advantage of the distance selling regs, ordering a 500 and an 800 (I don't [i]think[/i] I need the tubes) and sending one back...

Bought a set of hard drives for my NAS from Pete courtesy of the new Sell Anything area, and am happy to report that the transaction was just as painless as you'd expect from an upstanding member of the BC community. A bit of friendly banter on PM organised the deal, and then Pete dropped the goods in at my office on his way to work - can't say fairer. A pleasure doing business - cheers mate!

Cheers guys.. My cabs are Super 12, Midget and Markbass 104HR (not all at the same time, obviously!) so can all take a decent level of power - the 800 included. My concern with the 800 was the possible difference in sound the power section may introduce, and my concern with the fusions was that the tubes may actually damage what I find appealing about the 200. The 500 is certainly not expensive in the grand scheme of things and is looking very appealing for being the 200 in bigger bunches.. I just don't want to pass on the chance of the 800 if the different power section doesn't change the basic tone.

Hi all, A couple of months ago, I bought a GK MB200 on the grounds that 'hey, it's so cheap and small, I might as well give it a try' and somewhat irritatingly (for my wallet, at least), with everything set to 12 o'clock, it's turned out to be one of those sounds I've had in my head for years but never been able to quite achieve. My question is, if I want the same sound but more volume, where do I go in the MB range? On paper the 500 seems a sensible bet, but what about the fusion and 800, and even 800 fusion; do they have the same basic tone as the 200 just with more features to play with, or is the 200 one on its own because of the 'stripped back' nature of what it is? Is what I'm listening to just GK in general and everything they do will hit the spot? Any advice greatly appreciated!

Yup! Squier Vintage Modified Precision to be exact, and it worked really well. Once I realised it was going to work for gigging I went a bit further and put Schaller locks, a BAII and a SD Quarter Pounder on it too, but the change of bridge was purely aesthetic and nothing to do with the stringing; the BBOT it came with was on it for a few months and worked absolutely fine. Mine's actually set up for use in C,F,Bb,Eb but worked fine in BEAD when I first modified it. And since pictures prove it happened...

Also watch out for Tech21 gear which has separate 230V and 240V versions for use in Europe and the UK respectively. I found out the practical way; by blowing up a brand new RBI

[quote name='The Dark Lord' timestamp='1365237562' post='2036975'] Aha. Now, that gets me thinking there may be another factor for me. I used it last weekend with a Barefaced Compact. I heard before that they are a really loud cab and thought nothing of it. I'm telling ya. If I had used the whole volume available, I would have blown all of the windows out. Maybe those little Barefaced Compacts really are loud cabs? [/quote] Never used a Compact myself, but my cabs are Barefaced Super 12 for stage and Markbass 104HR for rehearsal. Both are 4ohm and I've never seen either accused of being 'quiet' before

[quote name='RandomBass' timestamp='1365097271' post='2035360'] I really think I should give the MiBass another go. I had one for a brief time, but didn't think it was anything special volume wise - but posts here (and other threads) seem to contradict my findings. [/quote] I'll back up your findngs.... I picked one up near-mint second hand a couple of months ago (the asking price was such that I could try it and almost guarantee my money back if I didn't want to keep it) and although I quite like the tone and don't plan to get rid of it, I have to run it flat out on the master to get the volume I need for my classic rock and metal bands. By comparison, I only have to run my GK MB200 slightly above half. Don't get me wrong, I do actually quite like it, but 'nothing special volume-wise' feels like a fair assessment to me.

[quote name='Musicman20' timestamp='1364402000' post='2026007'] Lets not be hasty with weight/size. The Fender P 5 I played a few months ago was extremely light for a normal American Standard Precision. I would be guessing at 9lbs. They all vary. [/quote] You're quite right - I've just done the un-scientific 'get on the scales with and without' test with my 2012 USA P 5, and the difference was 8.75lb. [quote name='magcom1977' timestamp='1364412858' post='2026207'] I'm not sure about a Lakland. I've heard many good things about them but that oval bridge plate puts me off. I'm so shallow. [/quote] I'm glad I'm not the only one who doesn't like that bridge plate

Depends if it fades out on the CD, especially solo-to-fade; listening to how the band that wrote it decided it should end live can be a useful pointer, even if you don't follow it to the note.

Never tried the Ashdown but I owned the Eden for a while - 4ohm version exactly the same as you're looking at - and used it with my Little Mark II as a home practice rig. It was a good, loud, clean sounding little cab and I only got rid of it to raise cash for a Barefaced Midget (my other cab is a S12, so I know where you're coming from), the rationale being that I didn't need that much power for playing in the house but I needed more power for my smallest gigs so the Eden didn't quite 'fit'. Nice little cab for the money, though. The only minor demerit for me was the lack of a speakon connector round the back; it's just a single recessed jack socket. No big deal, of course, I'd just have preferred a speakon.

Looks to be a thread over on the other side where some lad's had himself one made... http://www.talkbass.com/forum/f8/my-2010-alembic-jason-newsted-elan-5-string-715015/

[quote name='molan' timestamp='1359718926' post='1959241'] Tried an Ashdown again yesterday just in case my view was clouded by those Nasty rehearsal room heads. But no, it was still horrible, lots of flashing lights, VU meters, eq options etc etc. However, it failed to do the basic job of reproducing an even half decent bass tone Mind you, some people love 'em so what do I know! [/quote] [quote name='paul_5' timestamp='1359816966' post='1960706'] I'm a bit undecided on the 'Ashdown' sound. I had a MAG head for a while, and that sounded great through a Trace Elliott 1153 cab. I've also been lumped with them as backline on last minute gigs and have had nothing but woolly thumps out of them. Still better than the Carlsbro Stingray though. [/quote] When I saw this thread appear, the first thing I thought of was making uncharitable remarks about my old ABM-500(evo3) head which is, even if maybe not the worst, certainly the most disappointing head I've ever owned. It was bought with matching 410 and 115 at some serious expense (to me, anyway) and proudly taken straight to rehearsal.. where it completely failed to cut through tonally and could barely be heard even with the taps fully open. The true disappointment was in the fact that I liked the basic tone of the amp in the shop (well.. I did buy it!) and played solo it seemed to be plenty loud enough. It wasn't. I owned it for a couple of months, rehearsed it, gigged it, poured over the instruction manual and twiddled with every control and fader it had, and still it completely failed to work for me. The real kicker for me with Ashdown gear is that I've heard plenty of EB/MAG/ABM setups sounding just fine when in punter-mode, but have likewise borrowed plenty (sometimes even the same rig I've just heard sounding fine) that seem to turn to utter dross in my hands. So, still being conflicted when it comes to Ashdowns and with this thread in mind, when I saw a MiBass 550 in pristine second-hand nick at my local music shop yesterday I decided on the spur of the moment to give them one last chance... and having jumped in at the deep end and taken it straight from shop to rehearsal again, am oddly glad I did. Ok, it's far too quiet to be called a 550W amp, but with all the Deeps and Shapes and EQs turned off, the basic tone of the amp with the master fully open and the gain set to never hit 'red' is actually quite pleasingly smooth and translates that character well into the room, just slightly 'sitting back' in the mix but not getting lost. In terms of raw grunt, it *just* managed to hold its own at rehearsal with my 5 piece metal band so on that basis there's no way I'd risk it at a gig with that band, but I think it'll do much better in 4 piece rock covers territory and likewise I have quite high hopes for it in acoustic-duo land. So yeah, I've finally found an Ashdown that can stay... just as they discontinue the bloody thing!

The XLS1500 is certainly some good - I have a couple that power my PA system but I use them for bass too. Given that the 1000 is the same in only slightly smaller bunches, I can't see you struggling to be heard provided (as others have said) you can give it enough at the input.

[quote name='ThomBassmonkey' timestamp='1357401950' post='1922157'] I don't like the Boss tuners. In my experience they've been horribly inaccurate (my bass has been more out of tune after using the tuner than before on more than one occasion) and difficult to tune with. The guitarist in my band has one and I never like using it. The previous ones I've used have all been the same. I don't know if the TU3 is better, but the TU2 has put me right off them. [/quote] I'd have said a TU-3. Whilst I've not used any of the ones that have caught your eye and fully expect the SR to be technically better for accuracy, I've done setups with my TU-3 which have been checked against a Peterson afterwards and found to be basically dead-on. For live use it's much quicker to 'lock on' to a note than the TU-2 was (as-fast if not faster than the DTR) and has an extra bright setting for the LEDs so you can usually see it.

Yeah, same here - sounds like my sort of thing but sadly I'm likewise lacking time to devote to another project. If I hear of anybody suitable, I'll be sure to let you know. Have you already got posters up in Practice Sheffield, Yellow Arch, Attic etc? Starting a thread on Sheffield Forum landed us our singer, so that's always worth a shot, too. All the best with the search!

[quote name='Mog' timestamp='1357025800' post='1916438'] What if bassist X auditioned for a gig with band Y who are highly regarded within a certain genre, say Brit Pop. After the auditioning process the band realises that bassist X is the most suitable in terms of technique and attitude and offer him the slot. However bassist X is endorsed by company Z and is obliged contractually to play their basses. The basses company Z produce are not what would normally be used by a Brit Pop band and Band Y tell Bassist X that he must use another company's product. Obviously Bassist X would have to explain to Band Y that he cannot use another bass. Does band Y allow bassist X to use the bass from company Z therefore employing the most suitable person for the job (musically at least) or do they move on to another bassist who is willing to play whatever is required aesthetically but is a weaker musician technically? [/quote] Maybe if Bassist X was well enough regarded to have an exclusive endorsement and Band Y are well enough regarded to draw his/her interest, then Company Z would be happy to produce another 'Company Z Artist Series Bassist X' model with both the necessary technical aspects in place and the desirable aesthetic aspects considered? Just for the record, in answer to the original question, I used to only play 5s (didn't own any 4s at all) and for heavy metal originals, classic rock covers, acoustic singer-songwriter stuff and a few jam nights here and there, I never got any grief (or even that many comments) because of my extra string.

I had the ABM-500 e3, ABM-410t and ABM-115c and found the head to be nowhere near adequate for my needs. Interestingly, the same cabs with my old Hartke HA2000 were overpowering to the point where I eventually got rid of the 115c and just kept the 410t, which on its own, taking a maximum of 120W from the Hartke, never got above 4 on the master volume (in a loud metal band with a blast-beating drummer and two guitarists with Peavey 6505 and Boogie single recto). To be fair to Ashdown, another head that did manage to keep up quite well when I borrowed it was the MAG 600; it sounded much louder, more 'lively' (maybe less 'sophisticated') than the ABM and cut through the mix much better, so if you fancied a full Ashdown stack and didn't get on with the ABM500, that might be an option to consider.