BassBod

Yes, not a problem in any normal gig setting. I just do theatre stuff sometimes...has to be proper quiet..no fans, no nothing.

I briefly owned a 550, with an early version of the switch. Lovely amp..a lot like an SWR. Mine had a hum, not silly but noticeable in very quiet settings. Had a very good local tech try the "humbuck" mod, (wire over the transformer, out of phase) but it only reduced it slightly. Other than that, it was my perfect amp 😳

Pyramid black nylon flats are close, but very quiet acoustically- you'll have to plug in.

What TheRev said - they're all a bit different, but my Clifton always sounded and felt great with Innovation Rockabilly strings. Good for the jazz gigs as it sounded more "old fashioned" then people expected. I've got Evah P's on now...very similar. I've also got them on my acoustic..but you wouldn't believe they are the same, as its much harder work - all down to set up and fingerboard profile.

Pretty slow for me, but not too worried as its Jan and people don't wake up till mid Feb. But also not too optimistic - there's a lot of crap going on thats going to hit people in the pocket, so weddings and parties are going to be hit. Also the Festival world is like to be pulling back, although their willingness to pay bands has been declining for a while so that's more fun than income.

First thing - they are all good, its really just fine tuning the features you want, and the style of sound. Secondly...don't stress too much, most preamp DI's sound great and you only really need a core sound. I'd suggest getting a used Tone Hammer or Sansamp (there are a few) and having a go. Main thing is to remember that they are mainly replacing the front end/eq of your amp..so use them like that and see how it goes. Plug into the front (eq flatter than normal) or effects return of your amp to start...and later leave the amp at home, and see if you're happy. Generally, be gentle with the bass boost and amp emulation - its very easy to overdo it.

If I owned the TE name (which is all it is these days) I'd be selling a Sansamp style pedal that reproduced the eq and functions of the best TE products, including the graphic. Its the way forward...we'll all be using featherweight powered cabs any day day now.

Seems odd to say it, but one reason I went from Aguilar TH500 to the Retroglide was its stronger metal casing - feels much more gig worthy. I'm sure the internals aren't much different..but it stays where you put it.

Rootmasters...and Retroglide? They are a bit heavier to be fair, but not exactly large, or lacking power.

I just look at the quoted 4ohm rated power...and half it. I think the sound of micro amps has improved a lot recently, and there is a lot less hiss than the EA and AI amps I had several years ago. I've been using a Retroglide for a while now - it's very good as long as you view it as a power amp with a graphic in front, with no real voicing. The Origin looks very interesting, as long as it has some decent headroom. Only one way to find out 😳

Yep, a very early model..looks like a power amp in the top - so a giant powered speaker?

I've never heard it, but I did ask a local player about this gear, because he mostly used it for high profile gigs through the 90's. I assumed it was just loud and free (endorsed) but he rated it very highly, and used it as his first choice for at least 15 years. I'd certainly try the amp, even if the cabs are a bit bulky.

I've done this plenty of times, with a Sansamp...but it is very much about the setting. PA has to be decent, monitoring has to be ok. If you know or think thats all ok then do it.

Bit harsh...I presume this is the pedal the artist was asking for, and is happy to put his name on and promote. Reminds me of an old Russian EH Bass Balls pedal I had, but never found a use for. I'm pleased to see them experimenting with new designs and ideas - I'd happily use a B Social if I could afford it, but I've got a few old amps around the place. If I lived in a small flat, or moved around the country more frequently it could be a great way of integrating hi-fi, media and music work. Yes, some products are going to be hit or miss but it keeps things moving along nicely. The move into consumer audio under the Meters name should be interesting. Its a huge and competitive area..with plenty of profits if you get it right (particularly the marketing!).

In his shoes, I'd rather be paid as is and not have to participate in "the business" of being in the band. I'm sure his lifestyle is all the better for it.

I did suggest re-naming the Retroglide 800 as the Romford 800, but they didn't 😜. The red face Ashdown Mark King amp was essentially a new Trace, although it was no micro. The original concept for TE was a studio channel front end, with a power amp suitable for full range PA. To me, regardless of their 80's history, that's still a valid concept...and can now be done without the heavyweight transformers and casework. I've no idea what the TE name would cost, but if I was running a successful company already, it would have to be fairly cheap to make me interested. Maybe a boutique brand re-launch sometime in the future?

Mark was a Director at TE, worked through the Kamen transition, but left before Gibson. Founded Ashdown, and still owns..although Fender nearly bought them, before SWR. Lucky escape...

Love my (early, not super)Redhead. But it's got a bad hum..been diagnosed as a transformer issue, still can't decide whether it's worth fixing.

Its also because the hire companies have moved on - Aguilar, Fender and TC seem to have that covered....