Dan Dare

Jazzjames is right. Get it looked at and if the problem is not a cheap/easy fix, move it on and put the £200 towards something new.

Most decent modern amps will make a reasonable job of most things. Replicating recorded sound in a live situation is not simply a matter of using what people on the records use or used. Bass would virtually always have been (and still is) recorded direct, perhaps augmented with a mic'd cab, but often not. The sound you hear on the records was/is created via a lot of expensive studio-quality equipment that you could not possibly take out on the road. Even if you have very deep pockets (and people to carry it), it will still not necessarily produce the goods at live volumes without PA support (and high quality PA support at that). You can end up chasing your own tail and wasting a lot of money trying to get 'that' sound/tone. Prices of a lot of average and even poor "classic" kit have been driven into the stratosphere as a result. A classic example is the myth that "An Ampeg B15 will give me that Jamerson tone because that's what he used in the studio". Leaving aside the fact that JJ's sound, as is that of all players, was largely in his fingers/technique, bass at Motown was recorded direct, via custom preamps (Motown built or had their own built) and so on. The amp was merely used for in-room monitoring so the band could hear the bass. Best to visit a few well-stocked shops, ask their advice, try a few things, read some reviews and find out what you like. In view of what you're looking to re-create, some valves would be worth trying, but they're not essential. Fwiw, I get a decent approximation of the Jamerson tone with a Carvin class D head and Phil Jones cabs, which are hardly classic or vintage stuff.

If someone who probably doesn't know or care much about bass amps/tone says that, it's highly significant. I think you may have answered your own question there. If you want that valve magic, can afford it and can live with the weight (little or no worse than the SVTs or big Mesas others recommend, after all), has to be worth another look.

18 for me. I'll play the other 7 happily as long as you pay.

Another of those ad's where they have no stock, so they make the price ludicrous so nobody will buy and they don't lose their place on the search engines, which they would do it they took the ad' down.

Nowt wrong with Mexican. As you (I assume) only want it because you prefer the way it plays, I'd get one and keep the P neck, so you can return it to original when/if you sell.

Make sure there is still some finish on the face of the peghead. Applying a decal to bare wood does not work very well.

Hellzero is right. Short of paying out for lightweight tuners (which may not solve the issue if the imbalance is really bad), there's relatively little you can do. SD's strap positioning guide helps, as does a grippy strap, but they're not a complete solution. You shouldn't let go of the neck. You refer to having a problem when playing an open string. Are you removing your hand from the neck when doing so? If so, practice playing open strings without removing it completely. As long as your left hand fingers are not in contact with the strings and you are still supporting the neck, it should be fine. It's actually inefficient to completely remove your fretting hand from the neck - you have further for the hand to travel back into position when you need to fret a note.

This is very good advice. You don't want to be eq-ing out the hump. As others suggest, I'd look at general purpose large diaphragm condensers from Rode, SE and AT at your budget.

If you've still got your Quilter, that should provide the oomph you need. I'd check out pedals and preamps. Something with a valve or two in it would probably do the trick for a classic rock sound. If not, a used Ashdown would be a safe, modestly priced bet. If your budget is less constrained, see suggestions above. As your like your Laney cab and if you have money to spend, the big Nexus valve head is a formidable beast.

I think you might be pushing it to expect a single 12 to cope in a band where you play heavy rock. I agree with others that the Rumble 500 is a sound choice, but suggest an extension cab will make a big difference. Any 8 ohm 12" cab would do it (within reason) if funds are tight. It doesn't have to be a matching one.

Norman "not visually appealing". Are you having a laugh? He looks a proper geezer. No b/s, doesn't care about image, just about playing good notes. How is that not something you'd want to aspire to?

Caveat emptor has to be the rule. If people in the market for something don't do their research (as others have pointed out), they may well end up paying over the odds. I see plenty of items for sale on here, on eBay and on many other for sale sites that I would consider over-priced. So I don't bother with them. Many people have an inflated idea of the worth of things they are selling and for myriad reasons, which range from naivety to chancing their luck. That's fine. They are unlikely to make a sale. The market is pretty good at deciding these things.

So it's a Squier Bronco. The cheapest bass from the Fender/Squier stable and he wants £220 used. Another fantasist.

What a chancer. Pompous tripe in the comments and he doesn't even know what it is. It's not even a bass. It's a baritone guitar - typically tuned A D G C E A.

No photos from the time (late 1960s), but found this pic' of my first bass. Not the best instrument I ever played - the body was 1 inch thick plywood - but it got me started.

Surprised nobody has cited this chap

Don't take the risk. I'll take it off your hands for a fiver. I know. Selfless of me, but that's just the kind of guy I am.

Have you played through/tried any of your choices? One man's meat and all that.

In isolation, a sub for the bass can be very satisfying, but put it in a live environment - unless the space is acoustically ideal (which is rarely or never the case) - with a full band and I agree with the comments above. It just adds mud and mush. Even on my PA, I keep the subs dialled down, so they are just adding a subtle weight to the sound.

I know. I was young and naïve at the time 🙄

If you have any decent shops within reach, drop in a try a few of your chosen models. When you've found something you like, look for a used one in decent shape. As it's a first instrument, I wouldn't buy new. A budget (price, not quality - there are some very good budget instruments around) instrument will not usually realise that much of the new purchase price when the time comes to upgrade. As others suggest, a P bass is a solid, if a little safe, choice. A used Squier can be picked up for a very reasonable price - loads around on places like eBay - and can always be moved on easily at no great loss if you want something nicer.

I'd bet that was the studio rig or hired.

If you really want one in a particular colour and it isn't available here, probably cheaper to buy a plain one and get it re-sprayed.

Agree about Markbass if you want a modern rig. They have a nice combination of warm/old school but not dull. You still get good note definition, which is very important for reggae because the rhythm/timing is so critical in the bass.