ossyrocks

I can see where you're coming from, but that bass is quite heavy. I personally couldn't play it for that reason, my back wouldn't allow it. Stripped finish P basses do come along now and again if you keep an eye on things.

Sorry Brian! I reckon if I hadn't bought, someone else would have snapped it up though. Cheers.

I took delivery of this one this morning. Richard Henry made the trip up to the seaside and brought it to my house personally. He had it advertised as a '72, and whilst the pot codes are 39th week of '72, the serial number is early '73, so I'm going to call it a '73. All original except for the saddles, intonation screws and springs. It was probably one of the grubbiest basses I've ever bought, but after two or three hours of cleaning and polishing, including the frets and the board, it has come up a treat. It's now sporting a set of Labella LTFs, the action is low, and it plays superbly well. It sounds fabulous too. The weight is an astonishing 8lbs 6oz, or 3.8kg. Richard has had this for a while, and I have resisted it all this time, and I even thought Brian on here was going to buy it for a while, but it remained for sale, and when Richard dropped the price for the second time in a week I just couldn't not buy it. I'm very pleased with this one. EDIT: Group shot added, the P bass collection. I really should stop now. EDIT 2, Two weeks later: I managed to snag an original 70's bridge and saddles, which after cleaning up, is actually really nice. I've taken just the saddles, 3 screws and 4 springs from this, and added them to the original baseplate. So now it's almost back to factory spec (the G string intonation screw is new, and a fraction shorter than factory spec) Rob

That bridge positioning is fairly typical for ‘73. Both of my ‘73 jazzes have the saddles almost hanging off the bridge plate. In fact I’ve added longer intonation screws to compensate.

I'm just chuffed for my friend Christian Madden who's playing keys. I've known him for nearly 30 years and we've done countless gigs together in numerous guises, from when he was just a lad. He's the most down to earth and honest Lancashire bloke you would ever wish to meet. I'm very proud of him tonight. Rob

Has your guitarist got a big mid scooped distorted tone with a ton of bottom end in it?

It seems to me that if your playing alone in isolation at sound check is deemed too loud by your bandmates, and you have to back it off a bit, then what's happening is that they start playing they are too loud too. I set my level so it's comfortable and full sounding in isolation, not ever loud. Then if I can't be heard in the overall mix then it's up to the rest of the band to turn down until it can be heard and balanced in the mix. Rob

I don't understand why this is happening for you, as it's not my experience with the 10" BF cabs. Plus the fact that your bandmates "are wondering why you're so loud". What's the rest of your rig, and what kind of sound are you aiming for? The BF 10" cabs really fill the space, and sound good from anywhere on stage in my experience. I have a BF Three10 and a One10, and last night I used my One10 at Matt & Phreds in Manchester. It could be heard very well and clearly all around the stage, and in fact the sound guy asked me to turn down a tad after the first set. The FOH was doing most of the work, but on stage it was great. The amp was a GK Legacy 800 with the top end rolled off a bit, with a P bass with flats. Rob

It looks fine to me too. My '70 precision is a bit further in that that one.

That '68 is speaking to me.......ooof. Mike Long is really good to deal with, I bought my '73 P from him. He is open to negotiation too, I got a chunk off the advertised price on mine.

I have these. Cool looking rimless varifocals in blue tint. My wife took one look at me wearing them and said, "well I'd sh*g you". They do look great even though I say so myself. I'm also on the blinder side of optically challenged, but I can see a set list and read the odd note on the floor on a darkened stage if the print is big enough. Rob

All of us in my band are in our 60’s. It is physically harder than it used to be for me. To keep up general fitness, I try to walk every day, usually about 3 miles, but sometimes up to 4. Then maybe once a week my wife and I will do a longer one, up to 7 or 8 miles with a break halfway. The night before gigs, I’ll not have much alcohol, and try to get an early night. On the day of the gig, we all try to give ourselves plenty of time to get there and set up without rushing around, it’s important to feel relaxed before we play. Obviously, lightweight gear helps too. I tend to practice for an hour or two every evening, and will focus on the band numbers in the run up to gigs and rehearsals. Rob

When I look how far north you live Matt I get dizzy!

Interestingly, I did recently catch someone just in time, trying to connect the speaker outputs of a powered mixer (1000w) to the line inputs of a house PA system, which were active speakers. I did try to explain the potential results of their actions but they looked at me like I was making a fuss over nothing.

Connecting the speaker output of your Rumble to the input of an active speaker is definitely not recommended. You are likely to blow both the output stage of your combo and the preamp of the active speaker. You could run the "LINE OUT" of your Rumble to the active speaker though using an XLR cable, but your combo will still be running though it's own single speaker and seeing total load of 8 ohms. Rob

Sold! Not to me I might add.

It's a five hour drive each way for me, so I think I should just stop thinking about it !

The auction does offer shipping at a not unreasonable cost, but you'd have to hope they know how to pack a cab for shipping. They clearly didn't look after it during their ownership! It's the old model, with 200w drivers opposed to the more recent 250w drivers. The panel says 4 and 12 ohms, but I can't see how this would be achieved without the switch option of the later versions. Can anyone enlighten me? It would have to be bought for cheap if you were to factor in a factory recover/refinish and regrill. I would expect a nice condition modern Two10 with cover to be around £500-£550 secondhand. @Merton a custom finish couldn't include a coloured baffle and steel grill though, as the cloth front cabs can't be converted. I reckon my best offer couldn't be more than £250, and I doubt they would accept that. Rob

I'm keeping half an eye out for another Two10, and this one has popped up on ebay, but it's a horror story. I don't understand why anyone would do this to such a relatively modern high end cab. https://www.ebay.co.uk/itm/127172633345 Rob

That was a brave post Lee. I feel for you, and what you must be going through at the moment. I'm just out of hospital now, and I'm on the mend but still taking it easy. I know you have a gig tomorrow, so good luck with that, but I'll say that when I was your position a few years ago, I found solace in music and playing live, and found it really helped, especially playing live. You ain't got the blues until you've lived the blues man. We'll have that meet up in the next few days hopefully, it will be good to see you and talk. Until then, stay strong. Rob

I have the Boss WL-20 and the Nux. I bought the Nux because my wireless router is right next to my practice amp at home, and it interfered with the WL-20. The Nux works fine at home. For gigs, I always use the WL-20 as it’s just so simple and easy to use. I take the Nux as backup, but I’ve never had to use them. Only once has the WL-20 given me a surprise, the guitarist also has the same system, and I forgot to re pair mine before plugging in, and all of a sudden he had bass coming out of his guitar amp! Re paired and all was good. I haven’t done a any scientific testing, but I think battery life is better on the WL-20 than the Nux, but then the Nux can be recharged from the case if needs be. Rob