taunton-hobbit

In defence of the LC - it was never intended to be a bass amp - as a general purpose slogger I recall one doing quite a reasonable job of 'powering up' the downstairs disco room at the Kingston Cellar Club, back in the day..........

If this is a new b/f, you have 30 days to like it or return it (you pay transit) - so, if all else fails, bounce it back unopened & order one with a steel front - I suspect you'll hear from Alex when they get back from the holiday break.........

Just a cautionary note:
Extension leads on drums should always be unwound completely - there is a very real risk of the cable left on the drum overheating/igniting if sufficient load is imposed -

I'll not name the pro-audio guy who tried to tell me that the crap noise from my brand-new custom built amp was caused by the 'factory next door'.
After ten months my tech has nailed it (& redesigned/rebuilt most of the circuit to BBC standard) - he gets my Denon decks in a couple of weeks, to work through my installed detritus of output & aux rca inputs....s'gonna be one of the best of the best......you just don't have to be in a hurry for this sort of work - fortunately I've spare kit should the need arise)

Odyssey - 'Greatest Hits' 1987 master - German (Polydor?) - don't knock it 'till you try it....
Bronx Street Mix of Native NY is probably worth the cost alone.......

I spend my life selling stuff to people - this style of Blather Marketing
is sooo irritating, but people believe, because they want to............

You need a tech (which I'm not), but thinking out loud, both preamps would need to be powered up all the time and output wired into the 'switch' - you need separate channels,,,,,,,,,if there is such a thing, a pedal with a 'break-make-break' type action sounds possible, but both preamps would have to be preset for the same gain signal to the main amp. Personally I'd use a multi-wafer rotary with capacitor buffers, clunky but safer, in my opinion) - over to the technical department............

I suspect that both will sound fine - my problems start when I try and play something 'mastered' (loose use of over-used term) at 200watts plus(& yup, if I'm gigging, I really do use that sort of volume - probably explains why I don't get asked to work lots)(my current 'potential' amp power is around 3000 rms.........)

Never sold anything on the Bay at a worthwhile profit - it might happen, one day......

Any vinyl in that state wouldn't sound like that.
Just sayin'
(I've had Adblock on machines for years)
Ads like these sell the image of retro-junk to the plebs..........

I'd immerse in dub & version - Tubby, Lee Perry, U Roy, I Roy, Freddie McGregor ( Minstrel & Queen/Wine of violence...) you need to feel the riddim if you are going to be at one with the music - British ska like Madness was a thieve by Jerry Dammers from his dads (?) record collection - Marley was reinvented by Island as a form of Black music to appeal to a white audience - listen to Bangarang, Pheonix City, Pretty Cottage & More Scorcia for starters, all different and all valid........Barbara Lyn Letter to Mommy & Daddy was one single that kicked it off over here - I've played this stuff for forty years, and I still have a 2k system for home (!)

Someone once told me that reggae bass is played on the 'off' beat, not the 'on' - is that any help?

Looks that way - someone trying to be clever (or deal in futures, depends on your point of view) ?

My musical education started in the late 60s with the Jackson Studios in Rickmansworth & I was lucky enough to rub shoulders with, among others, Jon Hiseman, Mat Ross, Jeff Reid, Jimmy Page & David Bowie. All amps were valve & I can recall hearing some Ronettes tracks mastered at 15ips - replayed for me on a Revox..the crispness was simply unreal. I've just about got something similar happening on my own system, but it's taken half a century to get there - I'm thinking that I won't bother buying an mp3 player yet.............

I found the post about pre-set show very true (the old line of 'carefully rehearsed ad-libs came to mind)....it works very well for a tour/party act....you can't do it if you play the Dog & Duck at Elbow Bottom every month, the audience start to get very bored...........

I think it was Pink Floyd who had a ghetto blaster in the mix room to hear how the track would sound to the 'average' punter - knew a thing or three, those old-timers............

Did the handles come adrift from your pc at this time? (asked in the interests of research)

The compression on mp3/4 murders any semblance of decent reproduction. The louder you try and go, the worse it gets (I've heard stuff where the 'compression gaps' -other non-techie terms are available- actually make themselves obvious at medium volume - talking 200watts or so). CD reproduction is dodgy enough, 80s German productions and EMI seem fine, but I've got some horrendous junk from that period issued by certain majors. The 'modern' climb back to vinyl is an attempt to get closer to the original - I can tell a book load of horror stories about life on the road with trunks full of badly made 7" rubbish!

I'd look around for an early Barfaced and a head to go with it.....they come cheaper if the handles are still on..........

Give it to someone who needs a start (or a charity who will be sensible with it).
Good things come to those that give of themselves..........

It phases me out as to why you can't make a standard 19 rack mount amp and house it in a wood/other sleeve - four screws later and you're in business (they could even offer said sleeve as an option - too easy, I suspect..........

I've always assumed 'pro' to mean that someone was competent enough at what they did to get paid for it (even if only now & then) - I've known a few pros in my time, and most of them were quite nice girls..........
(puts on tin hat)

Talking of mass stage work - anyone remember Freddy Mack & the Boss Sounds? Freddy actually had that whole band on wages..?

I can see a few differences between The Titanic & a Ford Transit - the first wouldn't have got into the pub car park.................

Sorry to go on - but Denmark Street has changed totally over the years, along with most of London - I'd like to see 'Tiles' still there, but I guess Jim Marshalls heirs might have their own take on that one.............it's what's relevant to you, as an individual, that creates the static, and it's just that that town planners have to modify/disregard unless development & progress are to wither on the vine, Out here in Real World land, music history like the Railway Hotel Wealdstone, Taggs Island and The Star & Garter (Windsor) are allowed to crumble away without all this commotion....just cos it's in London don't make it special.............How about starting a thread of 'important' venues that just don't exist anymore ? - Nags Head, High Wycombe & the Bull at East Sheen for starters - off you go chaps.............