molan

I have a lovely Patrick Eggle which had this trem. I loaned it to a friend and it came back with the arm missing. I contacted Wilkinson direct and was quoted about £80 for a replacement because it wasn't made any more and would need to be a custom job. Sounded way too much so I didn't bother. Got some sort of aftermarket thing but it doesn't really work properly in the way the original did

I love this clip of him explaining some of the stuff behind Riders: http://www.youtube.com/watch?v=OoRFAbdmKD4

[quote name='JTUK' timestamp='1369068977' post='2084503'] ha ha ...take it from me, it is nowhere near 43lbs... as in 29kgs...!!!! [/quote] Is that for real John? That's more like 65lbs!

Anyone else read the title of this post and wonder if they're on the wrong sort of web site?

[quote name='lozbass' timestamp='1368961726' post='2083376'] I can see why any DB750 owners might consider a sale - I carried mine around a little last week and it's monstrously heavy, especially given the reasonably compact form factor. Getting it up stairs for a gig/storage is really no fun. I'm going to weigh it later - I'm sure the specced weight of 43lbs is way off. So, a major downside...however, then you plug it in and all makes sense [/quote] I'd be interested to see how much it weighs. I keep reading that it's heavier than stated but don't know anyone that's actually put one on some scales

I totally agree about hindsight being a wonderful thing. I was buying my first music in the late 60's and I still love some of the stuff I bought then but there was way more awful stuff around in the general airspace than good. My early teenage years were all glam, Bolan, Bowie, Roxy etc, soon to be followed by some serious program years - meanwhile most of the stuff being listened to by most people was still pretty awful. Moved to London at 18 just in time to see people like the Clash and the Jam at their peak and went to some great gigs. Got to roadie for U2 when they were still playing places like the Marquee in Wardour Street and moved into Billy Idol's room when he could afford the whole flat next door. Meanwhile the charts were awful. Then we hit some New Romantic stuff - great club scene in London and a lot of fun. Charts still rubbish. Etc. etc. etc. etc. We all have great memories of our early years in music and it's so easy to be selective and carp on about only the good stuff. My children have exactly the same sort of memories about house, techno, garage etc that I had about all the music I loved in my youth. To echo an earlier post, the only time I'd want to have been born at might have been a more recent one so I would still have it all to look forward to instead of drowning in nostalgia. . .

My Ritter has the entire body finished in the same stain on top of flamed maple on all the wooden surfaces except the fretboard :which is ebony). Looks and feels nice to me

I can't tell the slightest difference between the two - maybe it effects different strings in different ways?

[quote name='Solomon' timestamp='1368897269' post='2082817'] Lovely idea... but as far as I can tell, I can pick up a 1st edition 3leaf for around £50 and it'll be hard to get a Mutron III for less than £400, and probably get hit by customs fees when it arrives too. I can't afford to throw that much money at it at the moment. [/quote] I bought mine in the UK for under £300

If you do fancy a serious big power head then I'd suggest checking out the Carvin range. Made in USA and you can get the 1500w head for about £500 and the 2050w for £625. Amazing value for a big 'muscle' head, especially for something that isn't made on the cheap in China!

If you're spending this kind of money why not hunt down an original Mutron? Nothing sounds quite like one

[quote name='lowerbassment' timestamp='1368871116' post='2082433'] How do the CN112, HD112 and the Aguilar SL112 compare? Thinking of perhaps grabbing one 112 now and adding another oner further down the road. [/quote] It was really interesting to compare them side by side. The Aggie felt like it had the greatest low end punch with all the growl coming from low mids. My vote for older style rock, funk, grittier soul etc. CN112 had lots of clarity and clean note definition. Approaching clinical proportions if run really clean with the tweeter right open. Had to dial the tweeter down to lose string noise. A visiting pro thought it too clinical for something like a function band where you want the bass to blend in nicely rather than kick out in the mix. I didn't get as much time with the HD but initial thoughts were that it sounded like it needed bedding in and was a bit 'tight' straight out of the box. Seemed to be breaking up earliest at volume but I really don't think it was a fair test so need to spend some more time with it. The ATS was a bit of a revelation. Single 12" speaker with a pair of 10" passive cones. Really clear and articulate without ever sounding harsh, even with the tweeter wound right open. Plenty of low end but all clean, clear and precise. Possibly a bit too clean for my ears but I was making sure that I played each cab with the same amp and without adjusting any tone controls. Could probably add some more low mids and cut high end a bit. Basses used were a Fodera Monarch '86 and a nice custom P bass clone that the pro brought in. He also tried the Bergs with an EUB. Sounded nice but I think the Aggie would work best with it. There's someone else going to test them all this morning so more reports next week!

[quote name='KevB' timestamp='1368805828' post='2081815'] I think there was some guitar work on albums after Tony Reeves left and on a couple of tracks on Spyglass Guest that Reeves does play on (guitar by Dave Clempson guesting). [/quote] I always remember thinking they had somehow 'sold out' when I heard Clempson on Spyglass Guest - so much so that I refused to buy it and I used to love Greenslade at the time - mind you, I was only about 14 when it came out With regards to the OP - there's definitely some live vids from Bedside era showing Tony playing a White/cream Tele bass.

I finally got a chance to try a CN212 at BassGear today in the new amp demo room - much better acoustics than the main showroom and you can play really loud Stupidly I forgot to take my AE210 in with me to compare but I was able to run it against a pair of CN112's, HD112's, Aguilar SL112's' some very cool ATS cabs (combination of 10's and 12's) and a weighty Bag End 2x12. To be honest the Baggie was my favourite but it's just too heavy for my ailing back these days Of the others I'd say the CN212 was the best all round cab. Plenty of low end punch and very nice note definition and articulation. Didn't have the mid growl the Aggies have when pushed clean but, using a TH500 or a MarkBass Big Bang, you could dial in some of these mids to get close to the growl if required. Very nice piece of kit indeed. I must get my 210 in ASAP before they are all sold!

[quote name='Toasted' timestamp='1368788165' post='2081458'] I did this with a DB750 and downgraded to an AG500. Always regretted it. [/quote] I did something similar (DB750 to AG500 but with DB112 cabs). I found the AG to be very differently voiced to the DB and swapped to a TH and preferred it. In fact I spoke to Dave Boonschoft at Aguilar about this recently and he said that people trading from, or looking for a backup to, a DB750 would get on much better with a TH than an AG. He also said that their likely perception will be that the TH sounds 'louder' than the AG if they're used to a DB because of the frequencies at which it's working (if that makes sense - he explained it much better than this!).

[quote name='such' timestamp='1368740295' post='2081086'] I know one (probably same person as one of the two you know). I've seen him with DB750 (or 751, I'm not sure) and two GS410's, and I've seen him with TH500 and one or two SL112's. And also, most recently, TH500 plus TH350 and three SL112's on a metal gig I do hear the difference, so does he, but he says it's just too much trouble to carry it all around for some gigs when he can just pack the little rig to his little car. I personally wouldn't swap. [/quote] That is indeed the same person, I know this because we loaned him a 350 & SL to see how it worked

BassGear have a range of ATS cabs in stock now along with the 500w head. Very impressive gear

I know two, very heavyweight, serious touring pros who both have DB750/751's for their big gigs and TH500's for club type venues. If it's good enough for them. . .

Started unpacking a big old pallet of Bergs today Opened up a CN112 and a CN212 first - they look great as a stack! I have a feeling the Carvin BXR1500 (which happily goes down to 2 ohms) may be getting a run out tomorrow. . .

In general terms I think the Berg cabs are in a different league from the other brands you've mentioned in terms of build quality, fit & finish etc. I haven't heard the CN212 yet but my local dealer will have them later this week so I'll be able to hear it first hand then

[quote name='Dingus' timestamp='1368532816' post='2078042'] the tactile experience of playing the more expensive bass is definitely superior . [/quote] That's exactly what I was trying to say

I've tried through body and bridge stringing and I genuinely can't hear any difference whatsoever in tone or the, somewhat mythical, added sustain that through body is supposed to bring. I had a long chat with a top man from La Bella recently and he said there was no discernible advantage to through body stringing and that he didn't like what it did to the break angle of a string over the bridge. This is particularly true for most quality flat wounds apparently. He told me it caused all sorts of string issues and regularly lead to certain strings sounding dead. He has over 30 years of string manufacture and sales behind him so I'm happy to believe him