Kiwi

If you don't want it, I'll take it.

Fantastic standalone cab, mine was series 1 and had 15" and 10" plus tweeter. For a non neo cab it's also relatively light. The fuses for the tweeter are automotive supplied so a pop now and then is no big deal. Very honest sound though, if you get your colouring from another part of your signal chain, you'll be fine.

Looks like its a Mark IV...? One of the hand made jobbies.

[quote name='Bilbo' timestamp='1414580283' post='2590848'] Do you reckon if I offered him a signed photo of me and a bag of toffees, he might let it go? [/quote] Only if either were worth the asking price Seriously though, I'm confident that he'd be open to negotiation. You'd have one hell of a bass.

A stack can be justified with a low power valve head - for example a Bassman 135. You'll get decent frequency response at reasonable volume levels. I used my Burman 140w with an ampeg 4x10 and 1x15 stack and it easily kept up with guitar through a 50w valve combo. But for anything above 200w its total over kill for all the reasons stated above.

I've played it too. Surprisingly easy to orientate around the seventh string and that part almost feels like a long scale guitar. The action is super, super low. Martin makes some of the best necks in the world IMO. Its been in the shop for over a year though.

Two Shuttle 6.0's. Why mess about when the design works so well...? I like the unscooped mids and 600w is more than enough for any situation. There's extra oomph available if needed although I don't need a booming amp for small stages. Plus the size is great as well as the weight.

Most of the manufacturers that I can think of who have offered valve amps in their product line up, have tended to offer heads rather than cabs. Ashdown is an exception as has already mentioned but the following may also be worth considering: Mesa Boogie Buster 200 tiltback combo (they are extremely heavy though) Trace Elliot Twin Trace Elliot V4 (arguably one of the rarest valve bass amps in existence) Behringer Bugera line Ashdown 220 Matamp is also worth considering if you are inclined to have something custom made and can afford it.

I'd go for what I'll end up with in a couple of weeks. A Zoom B3 into two GB Shuttle 6's into two Fearless F112's. Its about as compact, lightweight and punchy as I can imagine without compromising.

They [url="http://www.rosetti.co.uk/Product/HagstromNorthenSeriesSuperSwedeBass?catId=1e747437-2db4-4a43-839a-25df0b4a62e7"]reissued[/url] their Super Swede copy of a jazz bass a few years back, the same one used by Rutger Gunnarsson in Abba. I'd be really keen to try one as it sounded great when used on some of their recordings.

[quote name='chris_b' timestamp='1414147645' post='2586364'] I don't think there is a one size fits all answer. [/quote] My favourite drummers will play the hi hat on the beat and play the snare and bass drum behind the beat. It creates more space in the pocket for the bass...so more opportunity to play expressively with the beat. [quote name='JTUK' timestamp='1414142389' post='2586289'] They make everyone else sound good by knitting it all together. [/quote] Yeah but not by compensating for crap playing though. You'll end up roughly in time but the song will lack feel and dynamics...it won't sound tight and smooth

Anything with Nile Rodgers or Keith Richards in it.

I've used it for percussion too. You just have to develop a feel for one revolution and feel at any given point where the wheel is. Sometimes I'll move my head around very slightly in a circle as I'm playing just to help with the visualisation.

I've been visualising it using a rotating wheel for many years. The wheel sits on a circular back plate and is marked in one place. A full rotation/revolution of the wheel is achieved in one bar. Where I need to play each note rhythmically is marked on the back plate. When the mark on the wheel meets the mark on the back plate, I play a note. If I want to imagine playing ahead of the beat, the wheel keeps spinning in my imagination but I play the note exactly the same distance before the mark on the wheel reaches the mark on the back board. If I want to play behind the beat, I'll wait until the mark on the wheel has passed the mark on the back board and then play at exactly the same distance in each bar.

IF this is the black tolex covered version rather than the green carpet, you have VERY lucky find. Only something like 25 of the head only versions exist. I had an opportunity to buy a V4 combo in pretty battered shape but functional (barely) shape back in 2008 but didn't have the time or inclination to restore it for what the guy was asking. Best of luck with the renovation though and you're right about the weight.

[quote name='molan' timestamp='1414012545' post='2584927'] I've owned both Euro and US Spectors and always thought the US ones were significantly better than the Euros. Better finished, nicer woods and colours and had more punch to the core sound. [/quote] I never bothered with US Spectors NS5's when there are 20 year old NS5CR's knocking around that are identical apart from the fingerboard and control layout. They're much sweeter sounding bass without the EMG electronics too.

[quote name='DrBike' timestamp='1413997296' post='2584664'] I have one with an expression pedal too (courtesy of Dood). I'm not 100% that I'll be able to attend due to family commitments but if I can I'll try to swing by for a "sticky-beak" and if necessary I can lend you the pedal. [/quote] Thank you Sir - much obliged! Since posting that request I've actually bitten the bullet and bought one. Very content I am with it so far as well.

[quote name='Matte_black' timestamp='1413920044' post='2583686'] 4) The headstock is just huge. Very nice to look at (like the whole instrument) but completely unpractical in real life.[size=4][/quote][/size] The 2+2 headstock is the same size as a Jaydee and Gibson EB, and smaller than Avella Copollo. Besides which, since when has the headstock size been a reason to dismiss an entire instrument? [quote name='Matte_black' timestamp='1413920044' post='2583686'] 5) The sound without tweaking was absolutely nothing special. Yes, you could probably dial in different tones but they all sounded pretty artificial and anemic to me. [/quote] Same could be said of the Fender Precision although I would replace anaemic with generic. Something special has not always been the sonic objective of many bass players. Something familiar, on the other hand, has been. [size=4][quote name='Matte_black' timestamp='1413920044' post='2583686'][/size] [size=4]The CT isn't made at the same level... it's not that refined BUT it's much more plug'n'play. The neck is better, the ergonomics are much better. I'd love to have my old Series I on my wall but just like a very well made painting. I'd NEVER gig that thing again for sure.[/size][size=4][/quote][/size] I would gig an Alembic but wouldn't gig a CT. Far more idiosyncratic and their value is tied up more in their cult associations with Carl than their attributes as an instrument. Take away CT and what is left? My Alembic is very comfortable to me and I've gone on to add a Pangborn to the collection. My first serious bass for 12 years was a Jaydee. Where most players would use a Fender to compare other basses, I use a Jaydee. In fact, eventually, I will probably add a Jaydee back to my collection.

[quote name='Matte_black' timestamp='1413920044' post='2583686'] Of course it's always a personal taste thing BUT: 1) The weight of the Single Point Series I was MUCH higher than the one of my 12 strings bass!!![/quote] I haven't tried one of your 12 strings but my pre EB stingray and 70's jazz are heavier than my Series 1. The Elan 6 I used to own was a monster though...well over 13lb. [quote name='Matte_black' timestamp='1413920044' post='2583686'] 2) The electronics were state-of-the-art in the 70s... now? Not much. You don't really need 27v for a good bass sound and they're not quiet like modern preamps. Without mentioning the need of the external power supply...[/quote] They were developed as studio instruments and for many years were the first choice of Nashville players. I don't know where you got 27v from but anything more than 18v is more than ample for studio headroom. They can be very quiet so long as the filters are tuned properly. The external power supply is just peace of mind in studio applications and they're piss easy to replicate given the schematic is out there. I had a 4 channel mixer converted into a two channel stereo Alembic power supply with two spare mono channels. [quote name='Matte_black' timestamp='1413920044' post='2583686'] 3) The balance on the Small body was just poor, without mentioning the fact the truss-rod cover destroyed my fingers while slapping (I guess Stanley Clarke removed it... or he gigs with gardening gloves).[/quote] No issues with balance on my Series 1. It sits further back than a Fender Jazz but I like this.

[quote name='White Cloud' timestamp='1413909538' post='2583496'] As a former Alembic owner I concur with this. I have owned some of the truly great bass makes...but never came even close to a CT. [/quote] As a current (and former) Alembic owner...Celinder owner (three times), Smith owner (three times) blah blah....Alembics are definitely idiosyncratic but surpassed by noone. They've staked their territory for over a generation.

You're living not so far from me...once my stuff arrives in the UK, lets set something up.

More background: [u][u][url="http://www.nytimes.com/2012/09/30/business/fender-aims-to-stay-plugged-in-amid-changing-music-trends.html?pagewanted=all&_r=0"]http://www.nytimes.com/2012/09/30/business/fender-aims-to-stay-plugged-in-amid-changing-music-trends.html?pagewanted=all&_r=0[/url][/u][/u]