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Thanks for posting - I hadn't seen this previously. I'd like to know the answers the questions you pose - I suspect that somebody on here will know. A producer/engineer mate of mine has been working recently on some remasters of various Who works - he may have an idea. Undoubtedly one of my favourite rock albums. Whatever one might think of PT, the man has some serious talent as composer/writer

Thanks for this - I run the Monique into the 'power amp in' on the back of the DB750. This bypasses the preamp section of the latter, though it should be possible to do the same with the effects return (I just don't use that option). The DB751 doesn't appear to have the 'power amp in' on the back panel - I suspect that this was dropped as a (semi) redundant feature. The 751 is a superb amp, and has the 'improved' tone-stack. That said, I retain a slight preference for the 750 (I know a few users of the big Aggies that feel the same). My DB750 was in for a switch repair for a short while recently (my fault - snapped a switch whilst swinging the amp around - it's a bit of a beast to carry). I used a GSS Baby Sumo to deputise - Class D obviously. The Monique performed gloriously with that, as does a Warwick Hellborg pre. For most practical purposes, I'd go with the Class D idea. However, there is a significant difference when using the pres with the 750. Perhaps more coloured, but more of everything - bigger, wider, higher, deeper. Dynamics are tremendous. Ridiculous to try to express this in words, but there's certainly a very positive difference when listening very critically. I hope this helps. I'm going to dig the Hellborg power amp out of storage if I can lift it. This thread has inspired me

There’s a power amp ‘in’ on the back of a 750. Not sure about the 751 - I’ll take a look

No problem - both the DB750 and 751 are class A/B. As a result, they're pretty monstrously heavy. As far as I know, the power section is very similar in both and each weighs in the region of 42lbs (though frankly, the 750 feels a little heavier to me).

Bypassing the front-end of an integrated has worked very well for me - if you have an Agi TH500, I'd try that before spending on a dedicated power amp.

I’ve been using a Monique for around 18 months. The best pairing to my ears is undoubtedly with the power section of an Agi DB750 - all the width, depth and dynamics are there. However, there’s an obvious drawback in terms of physical weight. The least pleasant pairing was with a Wayne Jones powered 110, but I’m pretty sure that’s down to the cabinet design. I’m not massively keen on playing through studio monitors and that’s sort of what you get with the WJs. Another very nice pairing, though well short of the Agi with critical listening, is with a GSS Baby Sumo. Super light, fast, accurate and reasonably priced. I also use a Warwick Hellborg stereo power amp but haven’t had the pleasure yet with the Monique. Knowing the Hellborg quite well, I suspect the pairing would be excellent. Problem is, I can hardly lift the Hellborg (the weight is nuts). I’d honestly be thinking class A/B with the Monique if feasible. Good luck - some excellent suggestions above

I own an Alembic Stanley Clarke Deluxe. I had absolutely no concerns that my playing would start to emulate that of Stanley, and it genuinely hasn't.

It's a really frustrating problem and I sympathise. I have dead spots on many basses (I'm pretty sensitive to this) including on a short-scale fretless at around D and Eb on the G. One of few basses that I have that doesn't have any noticeable dead spots is an early, headless Status SII. Another is a fretless J type with a Status graphite neck. This sort of adds weight to some of the comments re: NS and resonances above. Changing strings can make a short, frequently temporary improvement, as can tweaking the set-up - mainly truss-rod - though I tend to play with a very low action and a flat board (minimal relief). I've found over the years that dead spots are just something that I have to tolerate. I've not been able to remove them completely on any bass, though it has been possible to reduce their prominence. I've not tried a fat-finger, that said, I rarely play Fender-type basses. I tend to obsess a little with dead spots, though when playing live and even recording, unless they're really severe, they become a bit of a non-issue. Perhaps better to listen to the bass overall rather than the dead-spot (I'm telling myself this)?

Love this - I’ve not tried one but have a Spector Shorty - similar but heavier (my go to bass along with the Mullarkey). The Bantam appears to have the more dramatic, and nicer to me, body contouring. Gorgeous - I need to take a closer look