Musicman20

He is one of those players that hold the bottom end pretty damn well. Nothing too flashy, but some nice runs which you dont notice until you hear them through headphones. With them being such a big 'rock' band with the tradtional 'loud guitars' I doubt he will ever be that dominant. Plus he seems like quite a quiet chap. I think he should use a Stingray for a gig or two. I bet you will hear him then.

Head is definitely saying LM3 as is the girlfriend as she knows how much I liked it.

Has anyone recently compared these two Markbass amps through similar cabinets? I haven't played both for a while, and I only played the F500 very briefly. I'm getting a Markbass to contrast the RH750 thick middy/warm/ slightly coloured tone. I want something clean, quite flat, punchy and crisp. It's between these two. I'm tempted to just go back to to the LM3. Thanks

Stunner!

He was playing Laklands then turned back to Fender for most of his work. Coincides with the fact the band have suddenly had a massive success with their damn good new album.

Good plan....bit by bit!

The GS cabs are great...its whether you want to change over. Do you still have the MB combo? Could you just get the 121H extension cab and have two different setups?

I think the fact Markbass was 'designed' and always hand in hand with EBMM made a mark on why they sound so good with Musicman basses. I am now arranging a deal on my Genz STL900 and an RS212 (I dont need three TC cabs, as good as they are!) for a LM3 and Traveler 210P. I really dont need much volume with the new band, so the 210P will be more than enough, plus Id like something thats light!

Cool, might be a nice bass!

Yeah, the LM3 was SO easy to use, and I just want a simple amp I can plug my bass into, not fiddle with, and basically use the VLE to taste. Plus I dont need the apparent '900' of the SL900, the RH750 can handle the big gigs. The F500 is a great bit of kit, despite the fact I think its a bit 'cluttered', but Im thinking that my RH750 has all the bells and whistles (eg worldwide voltage use, mute, semi-para EQ etc) so what I need is an amp that sounds ultra clean and as flat as possible, in a small-ish package. The LM3 was great when I had it...the low mids are set a bit high, but to be honest, I dont think its that big a deal when none of my cabs are mid scooped (in fact they are all quite punchy in the mids, especially the Aguilar DB). Weird how things work out.

[quote name='waynepunkdude' post='1331454' date='Aug 7 2011, 10:06 PM']Weirdly I think I prefer it to my SVT[/quote] Haha! Crazy isnt it. If you get chance, unless you have already, try the AD200b and crank the gain. Literally stunning tubey grit...like nothing Ive ever heard. The OBT gets very close in a tiny, loud, and great value package.

[quote name='machinehead' post='1331444' date='Aug 7 2011, 10:00 PM']If I'm not mistaken the road worn series are the same bass as the classic 70s jazz but "aged". If that's correct then you are paying nearly £400 for someone bashing it about. I rate my MIM classic 70s jazz very highly and I have trouble finding much difference to my American Vintage 75 reissue jazz which would cost more than twice as much as the MIM classic 70s new. Closer to three times the price maybe. The MIM classic 70s can be had for about £600 (they have shot up in price recently too) and they are really, really great jazz basses. Forget about where the bass is made. It's mainly about marketing to get a higher price for a very similar, perhaps even the same, product. Don't fall for it. Frank.[/quote] Agreed Frank, its about the bass, not the origin. Ive played some great Squiers and some poor American Standards, and vice versa. Its about finding one, at whichever price point.

Well, I think im sorting a deal on my Genz SL900 and going for a LM3 or F500. I do really like the SL900. It sounds fantastic. But the problem is, the RH750 is also fantastic, and also has no problem in producing a clean tube amp tone. As I like the RH750 a hell of a lot, im going to change the SL900 for a Markbass. I think its the fact all my amps are very 'tubey' warm and aimed towards a more voiced vintage tone means one has to go for the clean Markbass tone. Never thought Id actually jump back to Markbass, but they do make excellent gear.

Believe me if I didnt have the AD200b I would DEFINITELY have the OBT. Its a damn good amp, and its a good price!

[quote name='thodrik' post='1331353' date='Aug 7 2011, 08:35 PM']What is all this about summer sun though? Can't say I've seen much of it myself lately![/quote] Haha, not this year! I think it was Summer 2009...when I visited a friend. I must admit the quality of each Sadowsky I tested was very good. I think Fender lose a lot of sales due to the fact that we have to 'try' before we buy, everytime, whereas with Sadowsky I bet 99% of them are spot on.

To be fair, as much as gg have great stock, one of their stores had the Sad's right in the window with bright summer sun shining directly on them, and it was like this for months. Their sales chap also said 2-3 had chips from players testing them out. I think I'd feel safer getting one direct, but I'm struggling to justify it at the moment when I know IF I found a decent AS Fender I'd be happier with the tone. I'm quite a build quality fanatic.

Interesting thread, but as much as MM is one badass player, his tone is 'meh' to me. Too clicky for my tastes. Flea is much more interesting but that's just me.

Not keen. It doesn't look worth more than £200. Cool idea, probably sounds ace.

I tried a Puma amp and I had a cabinet. Its on par, quality wise, with TC. Everything looked very professionally made re: fit/finish. I think the Taste might be like the VLE?

So, which stores here will order you a Metro 'new'? Eg one that's not been on the hanger for 9 months... I asked GuitarGuitar and I felt like they couldn't be bothered.

Yeah the Puma looks great!