Musicman20

I'd still like one but not having them on here means I can't try a decent used one. I don't really want to go to ebay.

I'm really tempted to get a Bongo in that colour...its the same price as normal.

PDN Honeyburst Musicman Bongos. Yum.

WANT http://www.sweetwater.com/store/detail/Sting5HSSRW/ Over the top but mint.

[quote name='Beedster' timestamp='1397216560' post='2421867'] However, a Precision will always be my go to bass, and if I could find a Fender I find as playable and as toneful as my Yamaha - a far more expensive Precision - I'd be all over it like a rash! [/quote] The Yamaha's are lovely!

[quote name='GrammeFriday' timestamp='1397208405' post='2421743'] As for the 'happiness is a warm P' thing, I've never understood that. Don't get me wrong - I love Precisions, and learned to play on a Fender USA P. But over the years I have always found them far too limited to cover all of the different kinds of music I want to play. Try playing Chic's 'Good Times' on a P - it sounds terrible! Conversely, I've never understood why Stingrays are always thought of as a 'one-trick pony'. I think Rays are far more versatile than Ps - in fact, if I was only allowed to have one bass I would probably go for a Ray. But of course YMMV. [/quote] We agree on this. I love P basses having learnt on a P style bass for years, and growing up with them. However, they can get a little bit boring. A few years back or more, everyone was 'superjazz' and was yearning for an expensive boutique active jazz. That is still there, but P basses are very much 'it' at the moment, (although they have never been unpopular, its just they are VERY popular at the moment). The thing that I can't understand personally is the super expensive boutique P basses. Just buy a Fender/similar and be done. You don't need to spend £3000 on a very simple design which may still not sound like a P should. Ray's are my favourite basses of all time, and always will be. Style, comfort, kicking tone, excellent build quality.

Check out Carvin's new Vanquish bass, or indeed any of their nice tops on the latest P/J basses they make. Decent prices, nice quality. I personally love a Musicman bass. Classic Stingray/Stingray/Sterling/Big Al and even the Bongo.....(yes the Bongo looks amazing in a bright colour). The NYC Sadowsky basses are stunning.

It sounds completely ridiculous, but a bands appearance and attitude can change their popularity completely. I know it should be all about the music, but it isn't.

I've seen so many covers bands turning up like tramps its unreal. These guys get paid. Then you see the well dressed and smart original bands who have an image with the music, and they don't get paid (I'm talking the local small bands...not The Beatles/Hives/Interpol or any other band that wore/wears suits etc). I've never managed to get a band interested in decent clothing...but not everyone has an interest in fashion I guess. If I had a choice, fashionable suits all the way.

Dingus has nailed it. Unfortunately, despite knowing that is the reason for it, it STILL winds me up. It feels to me like it applies more to music gear more than a lot of other items, but Im probably imagining that. Clothes/music/DVDS/Blu Rays/gaming seems to have come down very very cheap, but music gear increases. In 2009 I paid about £830 for a new American Fender P and the same for a J. In 2011, about £950. I moved some of those on, and inbetween bought my favourite P bass (same model, just better) for a silly low price new. Now? £1100+.... It's still a good deal...but that is one heck of a jump. A PS3 cost me £450 new (ish) on release day. I don't own that as it played up, the store game me a new one, and a refund as they had reduced the price, (nice suprise). I then moved on and traded it etc for the slim version, even cheaper. A new PS4 is £350 ish. I will eventually buy one. A new LED Smart 40" 3D TV is now also very cheap in comparison. Weird. I know its totally different markets...but it does perplex me.

...and considering you get that nice Gibson case with it...absolute bargain.

Fantastic amps.

The OBC115 does have a nice mid range content, to my ears, but you won't get the ping and crispness from it as it's not voiced for it and it doesn't have a tweeter. It will grind though, and provide a big warm pillow of bass.

Ay, this is probably Gibson's best bass in a long time! I'd like one in the Sunburst.

[quote name='BigRedX' timestamp='1396890650' post='2418454'] Yes. As I said in my first post in this thread in my teens I worked out the intervals in the major, minor and pentatonic scales, which got me started. However, I've always used what I can hear in my head as the end point when composing. It gives me tunes that sound good to me rather than ones that are easy to play or fall neatly into one of the scales. [/quote] Ay this is kind of how I think. However, Dingus, I totally understand that in a way, I am 'hearing' the music theory...and one day if I have time I'll look into learning a little more. I was a punk rocker playing fast NOFX/Rancid bass in the 90s. I still like that stuff, but my interest in more song based music like The Beatles has taken over. Both don't, as yet, need me to do anymore than be able to hear what I need to play (or want to play if writing). I do need to get much better on guitar so at the moment, that takes preference.

[quote name='lemmywinks' timestamp='1396895950' post='2418551'] I would just get your money back tbh, this sounds like a lot of messing about for a cab cover. £75 is also a lot of money for a simple thin cover. [/quote] These guys in the past were pretty good value...not sure if the prices have jumped up?

I can 'hear' a bass line / guitar part / even sometimes vocals and drum paterns in my head, usually way before I pick up an instrument. Then I'll try and get what I can hear into a part of a song. The brain is a strange and fascinating organ. I still find it odd that I can have essentially a 'jukebox' in my head if I know a song or album well enough. Totally off topic.

[quote name='bassman7755' timestamp='1396871114' post='2418122'] Theory isn't really a set of "Do's and Dont's", but rather a way of recognizing underlying patterns and structures. [/quote] I recognise it is a very valuable and intrinsic part of music, but for me, and maybe this is my rebellous side, I spend far too long reading about legal updates and I have done for about 8 years now, so to be honest, I don't have time to get to grips with music theory. Music to me is a stress relief. I'd rather just learn more on 6 string guitar and write more music.

Heck. Three times??? Something isn't right here. I can imagine this is very frustrating. I ordered a Genz cover before Xmas from a cover company, and whilst it was sorted out, I had to give them new dimensions and explain what was wrong as the cover was far far too big. It got sorted in the end. I'm shocked they haven't just sent you a brand new one. At this point, I'd get a refund. £75.00 is a lot of money for a cover...so it needs to be right. Agreed - the Aguilar covers are the best in the business.

[quote name='mcnach' timestamp='1396860120' post='2417927'] Highs missing from the BB2? That's one thing I can't imagine saying about it. Or our definition of highs is very different. I feel my BB2 has a LOT of top end, should I want it. Or tehre's something wrong with yours? Can you get those highs you seek from your amp using a different cab? I used to have a RH450 and it just did not have the highs, so no cab would give those to me and I ended up letting it go (for other reasons, but this was a factor). I have not tried the Streamliner, but I hear it's very "old school", so I wonder if it's not the amp that's just not designed for the sound you're after. I chose the Shuttle 9.2 over the Streamliner, without hearing either "in person", just on videos, precisely because it seemed a bit on the dark side for my taste, from all descriptions. As for the horn control... it is a funny one. I have experienced two BB2s, mine and somebody else's prior to buying mine. The effect is subtle. The 12" driver gets fed all of the signal when the horn is turned off, and it seems quite capable to reproduce a significant amount of high frequencies. As you turn the horn on, the voicing changes, and you get some more highs, but the effect I hear is more of a voicing change rather than a clear increase in top end. The guy who let me try his first also was surprised by it and at first he thought it was faulty, until he started testing it and realised what it was doing. I recall he said Alex told him that it's like a dynamic crossover, so as you turn down the horn, more high frequency content is fed onto the main driver... and as it's capable of reproducing quite a bit of top end, you don't cut the top end as you do in some other cabs. Of course, if the top end is not there in the first place, the horn will have absolutely no effect... I suspect I would not hear much of a difference, if at all, with my old RH450, as it just did not have much top end at all, regardless of what settings I used. If the Streamliner is voiced similarly, that could explain what you hear (or don't hear). What cab were you using before with the Streamliner that you were satisfied with, regarding the top end? edit: sorry, you already mentioned it, the Epifani UL2 112. I have no experience of that cab, so I can't say anything. But I would consider the BB2 to be rather bright (not necessarily the brightest, but the first thing that struck me was its clarity and top end)... Maybe it's wrong, or maybe it's not what you want. Is there anybody close to where you are with another BB2 that you can test? I suspect in your situation, I'd probably just return it... no point keeping it if you don't like it, but I'd try to talk to Alex first in case there's something wrong. If the cab is ok and you just don't like it, I don't think you'd have much trouble selling it later with a relatively minimal loss, as people are often happy to pay a bit over the odds for a used cab, and not have to wait 2-3 months for a brand new one (if in good condition) [/quote] Just a quick snippet of info for the thread. The Streamliner has a lot of top end sheen and snap, if you want it. It can sound very crisp, modern and clear if you want it to. There is either a fault with the cab or they just plain don't like it me thinks.

[quote name='molan' timestamp='1396817371' post='2417711'] I was told the other day (by someone connected with Warwick so I've just assumed it's true) that there are no UK dealers selling German made Warwicks any more I've seen a full 2014 price list and I was genuinely surprised at just how high everything was. I always knew the Signature models had gone a bit crazy but thought they were effectively all custom builds so I could understand it. It's stuff like Streamers and Thumbs that amazed me [/quote] If Warwicks were still around £1500-2000 for the bolt on German 5 string models (eg Streamer $$) I would have probably bought one. I may have even tried a Thumb. Now? No chance. It is a massive shame about how they've priced it all. To me, they appear to be as expensive or MORE than a NYC Sadowsky. The changes they have made, eg invisible fret technology, and sustainable woods/low carbon footprint all seem great, but why does the customer then pay an extra £2k on the old prices for the same bass?

I learnt some theory back when I started. This was now around 20 years ago when I was 13 ish. I never used it, to be quite honest. I play and write by ear. Music, to me, is about enjoying yourself and not restricting yourself to a set of 'rules'. As long as it fits, it fits. Completely understand why a technical lead guitarist playing extremely complex solos may think differently, or indeed a bassist wanting to learn more and learn more 'solo bass'. It just isn't my thing. I don't ever intend to be a musician in the sense of music teacher/turn up at a jazz night and play along; my career took many years to train for and I can't see myself being so studious with music. We are all different though. If you want to be a full time session player/teacher/etc, and take it as a career, then yes, theory/etc will need to be taken into account. Plenty of the people I personally look upto as role models never learnt music theory and wrote some amazing songs. Just a snippet of info from my school days - I took GCSE Music for something fun and creative to do alongside the usual subjects. I only learnt basic theory, never leartn how to read music properly, yet my performance and more importantly, my writing of 3-4 songs with a full band, managed to blag me an A. No idea how that happened... Bear in mind that most of the others in the lesson were classically trained and could read/write music, play piano/varius other instruments. I could play decent bass, some guitar, basic keys....still no idea how I did it.

Orange TB500.

That will knock a few walls down! Watch that volume though...that amp can (if its like the 500) put more out than you think. EXTREMELY LOUD!