Mudpup

It's the same in the bicycle trade too. I work for an importer/distributor and products that are usually about a 3 month lead time are being quoted at 9/10 months now. One of our popular bikes that now retails between £5500 and £8500 is totally sold out until next August. And we ordered 30% more than we sold last year... madness! We did 8 months worth of business in a 3 week period earlier this year. The warehouse is the size of 8 football pitches and it was almost empty at one point. With everyone being stuck at home for the summer musical instruments, home recording gear, home office equipment and bikes went mad. Limited factory capacity due to shutdowns and more recent problems getting things shipped gives you the perfect storm.

That'll have a disastrous resale value if you had to move it on at some point....

Can you get a class D head that uses a Powersoft module? The OP is going to be restricted by what is currently available in head format.

The Quilter really isn't as limited as you may think although it is a tiny bit treble shy unless you increase the scoop on the Contour. You have to understand what the 2 tone controls do - it'll take 5 minutes if you clear the idea of bass, mid and treble controls from your mind. Think of them as shape controls instead. The Depth control either lowers or boosts the bass depending on which way you turn it so thats pretty standard. The Contour increases a mid scoop if you turn it to the left and a treble cut if you turn it to the right. If you want to boost treble - turn up the scoop with the Contour, back off the bass with the Depth and add volume to taste. If you want more mids you need to cut the bass with the Depth, increase the treble cut with the Contour and increase volume to taste. That makes it sound complicated but it really isn't. My perfect gig settings tend to be 2 clicks left on the Contour and 1 click increase on the Depth (it has clicky knobs btw). It's naturally a very clean amp - it won't do overdrive but it will do crystal clear if you run the gain under 3 and goose the master. If you run the gain at around midday (5) upwards it really fattens up but without softening (more than any other class D i've used so far anyway). And its bonkers loud.

And whilst i'm having a posting frenzy i'm rather proud to announce that i've finally cracked Get The Funk Out by Extreme this afternoon. I suddenly nailed a key bit i had been stuck on after pottering about with it for a few months and everything just fell into place.

I've just started having a go at this one - we're cobbling a mash up together along with Calling all the Heroes by It Bites. Notewise it's not an issue but the stamina required for the rhythm is killing me after months of playing downtime.

Glenn Hughes basslines are usually fun to try - particularly the later solo funky stuff. Not always technically difficult but getting the sublime feel he has is the hard bit. They always sound like one take recordings to me and played from the heart.

That's 4 amps with quite distinctive and different tonal signatures. An interesting and diverse selection. I would go for the used ABM600 evo4 if it was me....

I don't know anything about Rob Chapman.... But that bass is BLOODY LOVELY!!!! (I can see the Warwick thing but there's a bit of Zon in there too in my eyes) Can i ask how much it was? i think you've just ruined my GAS list.....

Class D amps i have tried in loud band scenarios and subsequently sold on mainly because i felt they lost the whoomph when pushed - Genz Shuttle 9.2 (900w) Gallien MB Fusion (500w) MarkBass Evo1 (500w) Genzler Magellan 800 (800w) (much better than the previous 3 though - maybe because of newer power module design?) Mesa Boogie Subway D800 (800w) (as above....) Class D amps i have tried in loud band scenarios, still own and use regularly because they retain 90% of the whoomph when pushed - Quilter Bass Block 800 (800w) (doesn't use an off the shelf power module like the above ones to my knowledge) Class D amps i have yet to use in a band scenario - Darkglass M900 (900w) (last chance saloon for class D for me - if that doesn't do it for me then nothing will) All used with the same old cabs (Barefaced BB2 Gen3) for all of them. Same band. Same hairy ended drummer. And mostly the same venues. Class A/B amps that i currently use as first choice or would cheerfully have again (for reference) - Gallien Krueger 700RBii EBS TD650 Ashdown ABM600 evo4 Handbox R400 (not used in anger yet but it's looking promising) Make of that what you will....I'm assuming it's a type of power supply thing or headroom thing as the higher power ones or the amps without the generic power supplies are closer to my liking.

Gary sorted out a few bits on one of my basses this week. Lovely fella, great quality work and turned the job round really quickly.

You got away lightly even if you don't like them.....i managed to sponsor some penguins 🙄

Have a top basschatter bump Harry. Cheapest i've ever seen one of these great amps advertised at and a great seller!!!

The thing you're doing wrong is buying cheap stuff and expecting it to function properly or for a reasonable amount of time 😉Most are the same bit of rubbish Chinese kit rebranded and brought in by a box shifter. Spend a few quid extra and get something from a dealer who will support both the product and you in these situations. They won't exist in the future if we're not careful....

Fingerboards look too light to me. If you're going to try and do vintage looking at least do the whole job......ebony would have worked better