Musicman20

If you can, try both cabs. Personally, the 4x10 and 1x15 sound wonderful (to me) and I have no problems with tone/mixing the cabs at all. I would LOVE to hear two OBC115s though. When I tested a Compact, years back (probably first revision) to my ears, the OBC115 side by side with the Compact sounded more suitable for what I was after. Slightly punchier, a little more aggression. The Compact probably had more low bass movement. My rather vain eyes prefered the style of the OBC115, for obvious reasons as it looks cool. Tom Bowlus did a shootout with a load of 1x15s and it came out very favourably, (the OBC115).

[quote name='charic' timestamp='1329777990' post='1547357'] Really?! How odd... [/quote] +1...low mid kick is what I'd say the RH amps have in spades...

No one mentioned the onboard system TC used to make the amp sound how it does before the recent Bass Gear Mag review. It is a LOT more than just 'compression', which many tend to simplify as it is. Read the docs on the TC site. Best test it thus: Line up a similar rated amp, (in my case it was a LM3, and also a Shuttle 9.0 which is 900W!) Take into consideration how the gain/master tapers work, (eg the LM3 is a full power at roughly 12 on the master, and then REALLY compresses and clamps down once you push it, with hard clipping). Use the same cab, bass, etc. Test. I did this. I had no reason to stick with the TC....it was actually MORE expensive than the others. What did I find out? Watt ratings mean very little. Management of power and heat management is very important in these types of amps. A good limiter, like the RH450, and the recent Genz Streamliner 900, make a massive difference. Out of all the amps, the 450 was louder, simple as that. If you don't like the tone, that's different. I think if you are hitting the limits of the RH750, something isn't right.

Tough one. Recent crazy UK prices of Metros are, IMO, hyping it to levels more than they are worth. For a relatively simple J bass with an onboard EQ, it's a lot of money. The quality IS good, but it should be. It's a simple bass produced in fairly high numbers now. I'd say they sit at the £1300-1400 new price bracket, not the recent £1700-2100. Nice basses, but I wouldn't buy new for the price. I still think Musicman are some of the only 'made in USA' basses that feel like they are worth the money.

Oh man Best luck for the future Clarky.

Wow. That is a really good sunburst.

I've had many different types of high end strings, and (what I consider) to be lower end strings (Roto 66 Swing Bass, Fender) and EB strings have always been consistent, and most of all, they are worth it. I am a Musicman fan, but I liked their strings way before I bought my first Stingray. I'd like to try these. Slinky's work for me fine though, and the Group III flats are great!

IMO, I would stick with the Fender. Unless you know what you are getting EXACTLY, and the actual re-sale value of the custom, then stick with the easier option. Just make sure you shop around. As I have experienced, almost all Fender's need a check over for quality. From buying over the past 15 years or so, and in particular the last 3 years with the improved American Standards, its 50:50 roughly as to whether you get a good one with decent paint, not too high a weight, good pickup/string/neck alignment, etc. Apart from the odd hickup I've experienced (and one of them nothing to do with EBMM), Musicman basses like your Ray are much much higher quality than Fender. I've owned/kept/sold on (all together) around 15 Musicman basses, and when you get a good one they are mindblowing in quality terms compared to a Fender.

[quote name='Prime_BASS' timestamp='1328981454' post='1535676'] Who gives a rats ass when it sounds amazing? [/quote] Lol, me to. Call me vain (I am) but I have to have everything aesthetically pleasing. That includes cars, basses, amps, houses, women, and cabs. It also includes clothing. It's almost like saying 'these glasses help me to see, but they don't suit me'...you would wait for ones that do suit you

[quote name='discreet' timestamp='1328871564' post='1533969'] Er... isn't it about what the cabs sound like? [/quote] Yes, but it helps if the aesthetics are decent as well. I wouldn't buy a car/bass I didn't like the style of.

Linus - what a great gig! Congrats. I really like Weller live.

Once I've moved house I might take a sneaky look at the ebay prices on the Max 9.2. It'll be a while though, and in the mean time I might decide to just get a normal 9.2 (non Max) from BD and leave it at that. Not sure I need all those controls!

£75?! No way?! What is the world coming to

I don't understand how they are so cheap in the USA? I mean, not just the usual difference, we are talking less than half price sometimes. I'm seriously considering just picking one up from the USA in a few months.

Even though I missed the first wave, I still see the iconic Clash P bass photo, and I realise how essential it was. You know what punk did for me? It made playing the bass look totally cool. Being 11, that is a big thing. I grew up on early Nirvana at 11/12, turned to more modern punk afterwards, and 40% of my musical life is still run by a punk inside me. Yes, SOME early punk was so easy you could do it with your eyes closed. Modern punk, (which has somehow evolved in the USA) has given us bands throughout the 90s/00s as NOFX and A Wilhelm Scream. I would like to see anyone play The Horse by A Wilhelm Scream without having to practice it for a few months. It really has evolved and in my eyes. Without punk, I would not love the bass how I do. Simple as. Agreed that punk in the USA bred hardcore, and eventually, (and don't laugh) early 'emo' and post hardcore, (well before we had bands making it a commercial success). As I grow older, I still look back and love the moments of seeing bass player's in punk really playing the bass properly (Matt Freeman - Rancid, Karl Alvarez - The Descendents). Its an essential genre.

I have seen the recent craze for the tiny pedals, but for me, I wouldn't see the need to go any smaller. Cool/neat little pedal, but I like the larger/fully featured pedal.

Still have a lot of love for these cabinets. Although it has no bearing on the tone, the aesthetics are still the best in the business. As much as I've been looking at a small neo 1x12, I still think a single DB112 would tick a lot of boxes.

I find GuitarGuitar Sandberg prices to be way too high. You could potentially buy from Thomann a fair bit cheaper.

[quote name='The Walloper' timestamp='1328834876' post='1533642'] [/quote] OMG. Best Ric ever.

Personally I MUCH prefer the brown Tort, to the bright red MIJ Tort.

[quote name='Lozz196' timestamp='1328818802' post='1533293'] I`ve found this with my Schroeder cab - and think this is very good. I now have to be even tighter than before, which is great for my playing. [/quote] The mids, IMO, reveal everything.

I've DI'd many times without and amp, or used amps that aren't mine, so I tend to just go with it. Coloured or uncoloured, its essentially still me. I've never had an issue recording as yet. There is something about a coloured amp/cab that adds its flavour to many of the famous basslines we all hear. I don't mind which way I go...coloured, uncoloured, hifi, retro, whatever....I just get stuck in! Its funny how so many players get a Markbass amp/hifi cabinet and then sling a distortion or Ampeg-type simulation pedal and barely turn it off. That is instant colour, and I like it, but you aren't doing what the amp and cab are there for.