SwamiRob

Bought an Ashdown ABM head off Colin and was a great guy to deal with. His sister who by a stroke of luck lives very close to me, very kindly delivered it for me after going up after Christmas which saved us a good 50 quid or so. Highly recommended and cheers Colin!

The foam over the tweeter thing would work sound wise, but wouldn't the fuzz kill the tweeter which is screaming in agony behind it?

Yeah that was the other alternative, getting nickel for the rest of everything else cos all the chrome bits.are rusty and need a decent bridge really, is aging nickel fairly straightforward. Didn't particularly wanna ruin the finish on the pegs cos they look awesome.

Cool, is the dull effect something that just comes with age then?

Looking to get some new hardware for my Fender Bullet and would love it if they matched the tuning pegs, have no idea what they're made of or what their finish was however, as I can't seem to find anything new with this sort of look to it. My only guess from looking around is they're nickle and they've just aged as it's a pretty old bass, but I'm not too sure. The other alternative is getting them shined up a bit, but whether that is possible is another question, and I'm sure that wouldn't be a popular decision...

Heh, I do alright but I wouldn't say pitch is a strong point, take me ages to find root notes sometimes, however I'm usually ok at transcibing a lot of stuff after that if it's not mega difficult. Just seem to do it!

Cheers for all the suggestions guys, should have enough to work with now!

Was having a mess around with my pretty poorly intonated fender bullet the other day and noticed that although tuning it was impossible because something was always put, I seemed to be able to play in tune by bending notes a little here and there. Until then I'd never noticed myself doing anything like that, but was just wondering if this is a bit of a habit you might pick up, to hear a note initially been out of tune for a fraction of a second and altering it, or just getting used to an instrument that isn't particularly tuneful, or maybe been used to where the pitch of notes should be and working off that. Either way without really having put any effort into thinking or practicing correcting the tuning I seem to have been doing it which I didn't really expect to be able to do.

Yeah they've got some cheaper stuff, ta! Also have black text on white strat type knobs which is exactly what I was looking for.

Yeah got a pick guard from them as they must get someone to cut them from scratch, judging on the time it took for them to get it in stock and the variety of styles that they came in for pretty uncommon basses and guitars (and taking that into consideration I was pretty stupid cos I'd love to have the poles reversed and could maybe have asked for that, nevermind...). Anyway all the stuff I could see on there screws and other small bits wise was pretty expensive official fender stuff,maybe I'm missing something but that's all I could find when I searched about.

Need to get a few random bits for my Bullet bass before it gets setup, namely bridge saddle screws, pick guard screws and a tone and volume knob. Where's the best places to look? Even on eBay screws seem alot more expensive then they ought to be and it seems to be hard to find any that aren't overpriced official Fender guff. Any ideas? Would rather not spend nearly a fiver on a set of a few screws if it can be avoided.

Graeme came down all the way from Edinburgh to Leeds to buy my VBA400 and was a great guy to deal with. Very knowledgeable and seemed to know more about my amp then I did after having it 4 or 5 years. Was great to hear his WAL through it before it went.

That the thing though, "in whack with the drums" is pretty relative. With the gain set as high as possible without any drive, my VBA probably goes up to about 10 or 11 o'clock at most club gigs I play and in no way are the drums not very clear still, that's with an NV215 too. If you like a big open sound you need the headroom. If you like a pokey sound where you have your bottom end around 100-200 and very little below it then you can be alot louder with alot less. If sound guys put enough bottom end through the PA instead of the low end all being kick drum at the vast majority of heavy gigs then I'd happily let the PA do the very bottom of things and enjoy a little more clarity on stage. When it does happen it's a very nice thing cos I prefer to be sitting in a mix as much as possible with a reasonabley audible about of woody lows and a subtle amount of percussive clankyness going on. Makes everything alot cleaner then the gigs where there's no depth to the bass and I have to crank it up on my amp which only has a 3 band EQ and isn't the most accurate for doing stuff like that.

Pretty much, and has been said before features differ between different sizes of many lines of amps. Alot of people wouldn't consider there to be any risk of not having enough power with that much amp though (me certainly not being one of them unfortunately) if you have a bit of experience you know what you do and don't need with your gear. It can also be a pain in arse to have an amp that's got a ton of headroom for quieter stuff as it can take alot of messing about finely trying to get the right volume, been having alot of that practising with my VBA400 in a tiny room recently, and out guitarist has had the same with his JCM2000 too. The VBA400 is not an amp I would worry about having enough volume with unless I was to perhaps play at a football stadium...

[quote name='EssentialTension' timestamp='1447095674' post='2904850'] The idea that you need 500 watts for a pub gig seems bizarre to me. What kind of pubs are these? [/quote] Pubs where you're playing post-hardcore with a stupidly loud drummer!