chevy-stu

1000 ma (milliamps) to 1 amp, so 1200ma is 1.2amps... So you need a power supply that will supply that, at 12v too, plus of course whatever else you want to add to it.. There are loads of guides all over google with what amps or ma current various pedals require to operate.

I bought a replacement neck for my 74' Jazz from a guy in the US who deals in vintage bas parts.. It came well wrapped and fits perfectly... 3 bolt may be harder to find.. (saying that there are 3 on US eBay at the moment)

I've got a good repair guy, based in Enfield if needed..

Easyjet actually will let you take your bass on as hand luggage if the case is a maximum of 120 cm x 37cm x 30cm. I flew to Nice and back last week with it with me with no probs.. BA will let you take it on as hand luggage in a gig bag too with no problems from my experience too.. I used to use a full flight case (weighed 15 kg loaded) and pay the extra for the hold baggage..I personally wouldn't check any instrument into the hold without a proper full flight.. i've had 2 abs skb cases destroyed on flights.

The Yamaha's are pretty good for the money, ignore the hilarious power ratings, as these mean naff all... (particularly the QSC K series which sound very nice but have no headroom). With an E kit i'd be looking at small tops and a sub personally.

Old Peavey gear is amazingly reliable. All the US built stuff is generally pretty well put together, whether you like the sound of it is personal opinion. It often was a bit middle honk sounding to me but can working in some situations. They started building the cheaper end of the range late 90s onwards, and most of that is way less reliable.

[quote name='mrtcat' timestamp='1436176743' post='2815529'] was it a Marshall 4x12? That would explain speaker drivers failing over time. Marshall use the cheapest crappiest versions of Vintage 30s in their guitar cabs (so poor compared to proper vintage 30s) and I'd expect the same theme in their bass cabs. [/quote] yep, the matching VBA cab. The speaker specs were a bit optimistic to be expected to handle the power... The ones I put in were almost double weight. I had speakers fail on my old DBS cabs too, had the 410 and 215, and all went over time... i gig a lot, so this was over a period of 100's or 1000's of loud shows.. I did have trade deal, so replacements were 'relatively' cheap.

I've used a company called Bacsew for custom bags for my PA speakers. .. also make and stick most popular stuff too.

Got an early 90's Mesa 400+ I've had about 15 years, with matching old EV loaded 410, and a Marshall VBA400 I've had as spare for about 10 years...... I'll get some pics up.. (Due to size/weight I use the Orange 1000 Terror for most gigs now... . )

Just a revisit, but I have a VBA head and had a 412 cab, but all the speakers slowly blew one after the other over year or 2. On inspection the magnets and coils are quite small and I just don't think they were enough for the monstrous output of the amp.. I replaced the drivers with some better bigger coil Eminence drivers about 6 years ago and the cab lived on for a while. I was sold a while back so no idea where it is now... Still got the head tho

I didn't think those TE Quatt valve jobbies were too heavy.. Marshall vba 400 head is the heaviest I've come across. .

The way to do it (and way I do it now) is to have 2, standards of rooms... 1. cheap rooms at £5 - 10 hr dark, smelly, older basic gear mostly combos, basic 400w PA, as cheap as poss for the kids and cheapskates, and 'up-andcoming' bands 2. mid price rooms at £10 - 20 hr which are brighter, newer better gear, valve guitar amps, 1000 watt + PA, monitors etc.. aircon/ventilation, more spacious, seating. The gear, and fixtures in the cheap rooms does get trashed, but hardly ever in the better rooms.

Assume it's built with air capacity specs of the drivers your gonna use in mind .

I have been the rehearsal studio game for about 22 years, and still am involved with one of the studios mentioned on the last page for the last 15 years. It's basically a nightmare trying to please everyone, every band has different requirements... doesn't want to pay for it, and usually has no respect for the studio or equipment, so there lies the problem. There's no point putting high end gear in a studio (I've never seen a bass cab original speakers last more than a year on average for example)...... Compression drivers on PA's usually last less than a year, carpets get ruined from people spilling coffee, tea, fizzy drinks, fags, beer etc.. walls get graffiti, toilets get abused by people with no idea of personal hygeine who also stink the place out for the next band, the soundproofing required means it's virtually impossible to properly ventilate a room, drinks get spilled down amps, desks..... etc,... etc... all for £5 an hr !!!!!!

Don't buy a Peavey, as they disbanded their whole UK and European operation at the end of 2014, so there is zero aftersales service..... bit of a bugger as I look after a rehearsal studio's equipment with over 30 guitar and bass amps and 20 PA's.. All Peavey. I have an Orange Terror 1000 which had an erratic fault after 9 months, dropped it into their HQ with photocopy of the invoice, and they fitted whole new main circuit board FOC in less than 24 hrs..... Marshall had (still may do) amazing customer service with a 'book and wait' service and repair facility where they pretty much did anything in a day.

[quote name='Sean' timestamp='1393759455' post='2384000'] I spent years trying to find the sound, as many of us do and it wasn't until I heard and played through the 400+ that I found it. I tried Ashdown ABM, Trace SS, GK, Markbass, Laney, Hartke, Genz, TC, EBS, Aguilar and others but until I got that thump in the chest from the 400+ everything else was like alcohol-free beer. I have since tried a Matamp GT200 and that is like a very different flavour of what I like. I'd like to try a VBA400, CTM300, the big Laney and some others before I decide on a second head but the heft of a big valve power section is just an unbeatable experience for me and the 400+ has more personality than all the other amps I've ever had put together. Sure, it's got weird EQ and the DI is the usual Mesa impractical nonsense until you get used to it but the ownership experience is fabulous, it's so much more than a tool to do a job, it's a thing that's almost alive. [/quote] I've been using the 400+ for nearly 15 years and it does indeed have a character nothing else does, and just doesn't seem to run out of power.. I have used Ampeg's (classics and SVT2s as hired in backline) and have had a Marshall VBA 400 stack as spare for many years, and love the whole valve thing... It's a very effortless more dynamic experience, but it depends on the player. If you're a compression loving super clean sound freak it may not be for you.. Saying that I do more gigs with my Orange terror1000 now, just for ease of use..

I find the input gain is incredibly important to set correctly on the Orange Terror heads, I get loads of growl and lovely sustainy sounds and feedback effect from mine if required, but the sensitivity of the gain is key...