Lfalex v1.1

I knew it was Rhino. Didn't know it was an Alembic. Presumably also used on "Phoenix"? The Bass sound on that album is amazing (if a bit "of it's time"..)

I have one bass in D standard. When I want E standard, I stick a capo on the 2nd fret* *Other positions are available

Nice bass... That pickup and electronics package is ace. I have it in an EDC 715 (minus the mid control) I wouldn't call the mid position "bright", more like "accurate" - assuming the EQ is flat. Still, all 3 positions are eminently usable, perhaps even more so than on the Ray5 or Sterling - I'm not a fan of a single pickup in series, even if it is level-matched to the SC and parallel settings.

And then there's the quoted efficiency figures... which are relevant, but only if they're accurate and measured to the same standard. Generally, they're even greater flights of fantasy than power ratings.

I'll have to check that one out. I like the studio versions of the "I am the Phoenix" material... if this is better still...

Some sort of compressor (with a full set of controls) Ampeg SVP-PRO preamp. Boss CE-2b in the loop. Sfx Thumpinator.

I think you should be able to hear some difference when an HPF is functioning correctly, even if the bulk of its effect is below frequencies that a bassist would find useful. Even without adjusted LF EQ, the HPF ought to liberate some extra headroom from the amp it's connected to, simply because it's saving the amp/cab/combo (and PA) from wasting power trying reproduce frequencies that the system simply cannot generate. Quite apart from that, it should filter out said "useless" low frequency content, leaving the worthwhile low-end behind. Whilst subtle, there is an audible difference, even at low levels. And I'm only running something that behaves like an HPF at -12dB/octave from 40Hz down.

If they really are a stage prop, they could be proper "dummy" cabs; Cones in the drivers but no magnets No back on the cabinet (all to save weight) I guess the acid test is- has anyone seen evidence of the cones moving?

Had them on since about May, but they've not seen a huge amount of playing time. Sounds really good now I've got the pickups "right".

Brute force? Yep. Got that covered. There are some Black Beauties on it, but you have to look quite hard!

It does indeed.

Yeah, they look equally at home on my Epiphone Blackbird, which has a dark RW 'board, but is otherwise nearly completely black.

The whole thing is a conundrum, much of which can only be unraveled through experimentation, which is, at best, hit-and-miss. Two completely dissimilar cabs will surely present the amp with a differing frequency response and modulus of impedance even if the nominal impedance is the same. That said, they might sound great stacked one way, but not another. And then there are manufacturers who mix drivers in the same cabinet (looks at schroeder 21012L in the corner) How does that work if there's no crossover network (active or passive) and the drivers share an enclosure?

Two of my basses "plugged-in" sound suffer from an aspect of this. My Warwick Infinity SN is chambered. If I wear the strap too tight, it sounds dead. Loosen it a little and it comes alive. Similarly, the G&L SB-2 Tribute sounds squashed if I'm seated and lean on the body too much. In your case, although different, does the new bass lack the resonance you're used to (entirely possible) or is something damping it?

Can't say I watch Countryfile, but r/basscirclejerk can be quite funny sometimes.

Just had a try using my old Zoom B3 between an Ampeg pre-amp and the return of the FX loop on my Markbass Head. The Ampeg gets the lot, then the Zoom affects what the power amp stage gets. There's a little compression, and I'm using the Facsimile of the Fishman Platnum pre as an HPF which is -12dB/octave @ 40Hz. I tried running two HPFs to give -24dB/octave but it sounded over-processed. I've no idea what "order" the filter is. Maybe that's relevant. It's not working too badly at all. Especially for something that was laying unused. Might try it in front of the Ampeg, to see what that does...

I had an acoustic bass. It sounded nice through its pickup/ preamp. It was well- made and played as well as such things can. But..... It was a Korean Ovation, and I couldn't get a case for it. It would feedback in noisy environments. My acidic sweat annihilated the phosphor bronze strings almost instantaneously. The Unplugged volume was once drowned out by the sound of a pin dropping. I guess it was OK for noodling around the house if everything was absolutely silent. But that was it.

Definitely worth a try. Will give more useable levels if you can use an external preamp or pedal that can give you a bit of gain before the power amp stage in the Ashdown. Then you'll be able to hear what's going on better.

I'd like to try one, but I don't think anywhere "near" me regularly stocks them.

A Reverend. Mercalli? Or Thundergun?

I think mine were cast from lead.

Try practising on non-bass bits of wood first so you can get your technique down and see what results you get from different approaches/ materials.

I thought the Pro M was Warwick's attempt at a Stringray (?) My good old Fortress Masterman 5 sports the MEC Twinjazz (JJ) pickup. Controls are; Volume & Pickup pan Bass & Treble (Neck coil) Bass & Treble (Bridge coil) Almost too many options and tones.. (see also the Bongo 4- band EQ!) You're best off centering everything and making small adjustments. In spite of the close proximity of the coils, you can skew the tonal balance just by tweaking the pan pot. Then, if it sounds a bit thin or dull, just adjust the tone controls. Failing that, leave the pan pot centred, and it does its own rendition of the Stingray sound. Edit- There does seem to be a Streamer version of this with 3 stacked pots, suggesting the same configuration. There also seems to be one with 2 single pots and one stack (B/T?) I think I also recall a Streamer with a MM style HB, complete with 3 ears but no visible polepieces...

I had this issue with a G&L SB-2 Tribute. It came with a set of 50-110s on, and too much neck relief. The strings were absurdly stiff, so I dropped it from E standard to D standard, primarily to take the pressure off of the neck. It actually settled rather wonderfully, so I left well enough alone (for once!) I now just use a capo if I need any other standard tuning other than D standard.

Not if they're by-passed by some sort of group-switching midi pedal or a Boss LS-2. But I take your point nonetheless.