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An update on the TT-800 situation and not great news for anybody that would wish to have one in the UK. I was signed-up for the next batch of the TT-800s due at the end of June. It was a speculative order as I'm not really sure that the TT-800 will do what I'd wish from it - great reviews on here and elsewhere but the more I've seen and listened, the less convinced I've become that it's the lighter weight solution that will suit my preferences. Anyway, I digress. I've had regular updates from Andertons re: progress with getting Mesa gear into the UK - indeed, Andertons have been superb, as has Andy (aged_horse) - very creditable and friendly advice/service all round. I received a message last night in which Andertons explain that Mesa deliveries to the UK are unlikely to appear before the end of the year and more likely, orders will enter the UK early next year (on most of the range including the TT-800). The reasons given are (a) Mesa has chosen to concentrate on fulfilling orders from US dealers, and (b) delays are exacerbated as a result of ongoing and critical shortages of parts. I've no reason to doubt either of these explanations. I suspect too that the recent Gibson takeover has a role in all of this. Andertons express some dismay at the treatment of non-domestic dealers and I can fully understand and sympathise - the treatment of non-domestic players appears to be woeful too. Anyway, I'm out - a combination of misgivings re: suitability and a bit of a flounce related to Mesa's attitude to non US players. I'm off for another weetabix and it's back to the DB750/Hellborg pre combo that I'd hoped the TT-800 might rival/emulate. Sorry that this is probably very bad news for a number of Basschatters waiting patiently for the arrival of Mesa back orders

Tiny Tone appear to be connected to, or part of, Jack's Instrument Services in Manchester (or maybe a name change) - just north of Victoria Station and about 10 minutes walk from there. Really good people and they've done some outstanding work for me. I've seen some of the tort celluloid material and it's very good indeed - probably better than some that I bought from Simms. I'd trust this outfit and it's got me thinking about some replacements for brass backplates - a way of reducing weight

Some great ideas in the post above! The Peli type cases are excellent for smaller/medium-sized items such as amps. If you can mount the head in some kind of rack case, I'd recommend it and if not, be careful to ensure that it can't be pulled/knocked off the cab at rehearsals/gigs. I've seen this happen quite a bit and more so with contemporary very lightweight heads. For the cab, a lot depends on transport/lifting capacity. I'd always use a flight case if possible/feasible (and you can often pick them up cheaply on Basschat, though additional foam/padding may be required). They're highly protective, of course, and can provide a useful riser depending on stage size. That said, they're heavy for load ins/load outs) and need storing when not in use. A roqsolid should do a good job in terms of day-to-day protection and they're reasonably priced. Oh, and a lovely new rig that you have there - very handsome

Thanks Morris and Helzero - some extremely useful detail and ideas here. Given the size of the Hotone, fitting the card to the amp would be problematic, though what an excellent idea. I hadn't seen the protection module previously but a great solution for standard-sized amps

To echo what others have said, I'd talk to Warwick (nice if they'd intervene) but don't really see any problem with repair. It's not easy to see the crack or delimitation but I'd have thought a decent luthier could effect a repair fairly easily and inexpensively - possibly adhesive or a pinning and adhesive depending on depth/length etc. Depending on where you are, I'd strongly recommend Jack's Instrument repair in Manchester or the Gallery in London (I'm sure others can suggest some excellent luthiers around the country)

Thanks - a really useful and straightforward review! I was considering a Gnome recently and may still try one (I'm probably more tempted now after reading the review). I don't know how much the Gnome will have inherited from earlier Warwick amp design, but I've always been impressed with Warwick amp products. Build quality appears to be great across the range. I use a Hellborg pre as my main eq and it's without doubt the most extraordinary pre that I've used (after many years of experimentation and the eventual realisation that I prefer SS pres to valve). I'd like to think that some of Warwick's learning from the Hellborg range has influenced design of the Gnome. I should really try to find out. Incidentally, my recent interest in a tiny amp led me to the Hotone Thunder bass - only 5w (class A) but surprisingly loud and with an unbelievably good eq - fat, bold and really sensitive to player dynamics

It really is a dead cheap little thing, so no mute, but it does sound wonderful

Really good practice - I always do this with amps with a mute feature

I don’t know for sure but suspect there’s something in this (and the Hotone is a very inexpensive unit). Just wonder if anybody has an easy workaround/fix?

Thanks both - yes, I always have both gain and volume on zero before switch-on. And yes, TE - wow, quite a serious bump from pretty much all the amps I've had - and that's a good few!

Just a quick one... I recently acquired a Hotone Nano Legacy Thunder Bass (5w class A micro amp). I won't go into the detail here, but it's an extraordinary little thing - phenomenal preamp! However, I notice that there's quite a loud (not mad but unusually noisy) 'bump' from the speakers as I turn it on. I know this bump isn't unusual in general and I've had it from various TE, EBS and other SS amps. Does anybody know of a way around it? I've tried turning on the amp and then connecting the speaker cable to the cab - 'still get the bump. Maybe there's some trick that I've missed? Any advice would be very welcome

I've been working through a similar process to that described by the OP and also use a Bergantino HD210. Certainly one of my favourite cabs of the modern era and relatively light (54lbs?) compared to the Cerwin Vega etc. 18" bins that I used as a younger man. In an effort to cut down on weight, I picked-up an Agi SL112 a few weeks ago. Great full-fat tone with a really tight bottom end (it's rear single ported and I'm using it positioned a little way away from walls). Very responsive with real articulation in the mids - lovely for fretless (though I play mainly fretted). I'm not sure on just how loud it can get in a gig/stage monitoring situation, but at 25lbs it's just a joy to lift. I've had it up fairly loud and it seems to stay tight and focused (no signs of complaint from either driver). Overall, I'm very impressed - I just need something that will replicate the tone and power of the DB750 without the weight (I'm not sure that's going to happen)

Really helpful to have the collective wisdom of Basschat re: Lakland in one place - whilst the Lakland site is pretty good, there's some information that I've struggled to find in the past. I have just one Lakland now, a 44-64 with a J taper neck and bound fingerboard, large pearl dots and factory Lollar pickup. A really lovely P bass with extraordinary playability. I've had a 44-64 PJ (J taper) and a JO in the past - both superb instruments. As I suspect with many others, it's the necks that set Laklands apart - for me, the best Fender type necks available. The only necks that have come close were a Sei J and a Celinder P (with a J taper neck). The less attractive element of Lakland Fender types for me is the body contouring. All of the Laklands I've had have sported rather 'blocky' bodies - the edge carving is somewhat minimal for my taste and the tummy and elbow carving is quite shallow. I much prefer the organic 'sea-washed' pebble contouring that one sometimes finds on older vintage Fenders. That said, not a big deal aesthetically. The other thing that I love about Laklands is the original (?) cream case. I had one in perfect condition and stupidly sold it. I'm always on the lookout for another

Thanks and fascinating - inspecting the two Shortys more closely, they do have some fairly different characteristics. Probably the most obviously noticeable is the weight - the 2015 is much lighter than the 2011 and the latter is a very substantial bass despite its diminutive size. The 2015 also has the DW neck dimensions. The videos of US Spector production show just how much hand carving and finishing is involved (despite extensive use of a CNC) and I suspect that this is where most of the differences arise. Or maybe in the way that Alembic will do, sometimes Spector luthiers just see where the wood takes them and apply individual expertise to see what works best with a particular instrument (within certain parameters, of course).

I noticed the other day that my Spector Shortys have differently shaped headstocks. One was built in 2011, the other in 2015. The end of the headstock on the 2011 is entirely flat and that on the 2015 is bevelled/angled from front to back (please see the images). I've no idea why this is the case or whether it's something that is more common on the later Shortys. I think it's quite a nice aesthetic touch. Anybody have any idea why the change might have been made?