Cuzzie

Al, Don't forget the second hand market prices Sold my MXR for about the £120 mark Showed you a standard big Cali at £225 And a SD at a great price (can't remember what it was) If you mount your Cioks DC8 under the board, definitely room for a compressor! Or have the multi effects unit on the floor next to the board

I remember reading about that on TB amongst other places. It says 600w @4ohms but I don't know if that's peak power or continuous and how long it lasts. From what I rememeber you needed a decent pre-amp or it would not drive it at all. Most people had it on their amp and it pedal board as if you think about it if you have a speakon connector either this is long, or a Jack cable is long from guitar stuff to the amp, although technically I suppose you could go wireles.... Pre-amp of some sort maybe necessary, but the killer for me will be capabilities of using it as a practice amp also with aux input and headphone output which DOES set it apart from demeter, Minnie etc

Is that just the Scrambler or the SCR DI? I was looking at that as not only a pedal but also a portable quiet practice tool. It looked like it sounded the business

OK, No worries, completely get your point. I think aside from me saying it could just be a clean power amp, the other points are winners for me. I need to go away and listen properly at the voicing of your other pedals with headphones on to hear how it sounds. This is not being critical of your work, I just want to hear it to see if something like that would work for me personally and where it sits with other things out there

The options I see it are as you describe, which if going for a simple circuit put you into Quilter bass block territory for simplicity, or even Handbox (but they are quite big) or with a drive circuit that is looking at Genzler magellan or Darkglass territory, Tech 21 VT etc. If you wanted to go for pure clean power then it's the Demeter Minnie 800 or Jule M700 power amp for non rackable stuff I would say are out there in front. Not sure what other people are doing, but if people already have pre-amps they are happy with, then a small portable simple power amp to replicate faithfully their sound may be the way forward which could also double as a headphone practice amp, or DI without a cab. Personally I have a valve pre-amp in the Two Notes LeBass, a Cali76 and a Hartke VXL bass attack pre-amp, and I may well get the Tech21 dUg pre-amp pedal when it comes out in the next year, so I probably have all the sound modulation I want, but a small power bundle similar to the Quilter Micro45 or as close as can be is a definite pick and go option

Dave I will copy in what I wrote to you and then answer after... For me and my 2 pence worth this is what I think. Keep it stripped and simple Size - about half to 2/3 that of a Cali preferable but Cali size is no biggy No EQ section volume only 750w @ 4Ohms minimum switchable down @8ohms to about 350w clean power. Has to be continuous RMS full watts. Hypex power module DI out Headphone in Aux in Speakon/jack multi function port out Now you can add compression to help alleviate peaks in sound to allow the true RMS or you can suggest a compressor before (heaven forbid!) to get the best out the amp. Drive circuits are very subjective so I would leave one out and people can pre-amp in front, I know I would!

All in good faith my man, as I hope mine are taken

[quote name='drTStingray' timestamp='1496481871' post='3311752'] I also have a lot of Musicman basses including one I bought new late last year. The quality on them all is consistently top notch. Their plan, they say, was to produce some old school classic styled passive basses to compliment their new guitar models - their single coil exposed pole pick ups have been around for many years, so they're not really copying Sandberg - more they and Sandberg are making basses which are loosely (or not so dependent on which maker) based on Fender. In the US, people have referred to the new MM passive basses as on a par with boutique stuff like Sadowski. I'm sure Sandberg are excellent as well but I too would be extremely surprised if MM took substandard instruments to a show. The London BGS is not the place to spend time with bass equipment unless you're not bothered about the crowds of people and din of slapping going on - and din it really is - unless you stick around in the exhibition whilst a big draw is on stage - very pleasant then 👍 [/quote] Completely agree with what you say about both makes, and about the Din at the show, so I made no judgement calls on the sound. It was a pure feel of the instrument and a comparison to other MM's I have played. All sound bites other wise I have heard were great. The thing for me was the Albert Lee which was the last one produced according to them and was a few years older than the others was a better feel. This is just comparing it to 90s and early 2000s basses I have played. Picked up a 90s Slo neck Ray before and that was the absolute beans no question

[quote name='hiram.k.hackenbacker' timestamp='1496447857' post='3311595'] That's OK. I can no more say you're wrong than you can of me. I'm just surprised you feel that way as my experience of MM is that they put their instruments together very well indeed. My latest one is absolutely faultless and I am super critical. Also, it's not just that one. I think I have about eight of them at the moment and have played many others. There are other worthy recipients I could think of much more deserving of a good finger wagging over QC issues that I would put ahead of MM. [/quote] Fair point and you are right some truly awful stuff out there, I think I was overly terse and a little tongue in cheek as someone had put a picture of an MM hence the comment, otherwise I would not had said it at all. In my defence (!) to me it only seemed like the newer basses they had on display (I picked up every one they displayed at the bass show) that felt different and a little cheaper compared other basses they had produced throughout the years. Granted my experience of them is way less than yours, but I had a mate with me who would sit in between us with regards to experience in Rays and he felt the same thing. I am not sure if it was the lacquer or something else, but even amongst the same range the necks felt different on each and whilst light the body felt cheaper and a little soul less, nothing like my previous experiences, and I had gone in potentially cash in hand for a Caprice or Cutlass. In contrast the Sandberg booth basses (and I didn't like them all) overall felt of a better quality. But yes, I agree with your comments, reckon I gave unfair demonisation and was a little too scathing, however for me the Sandberg's like or loathe the sound still have a little edge on production as there is currently still more of a handmade personal element to them I think Cheers

[quote name='hiram.k.hackenbacker' timestamp='1496447857' post='3311595'] That's OK. I can no more say you're wrong than you can of me. I'm just surprised you feel that way as my experience of MM is that they put their instruments together very well indeed. My latest one is absolutely faultless and I am super critical. Also, it's not just that one. I think I have about eight of them at the moment and have played many others. There are other worthy recipients I could think of much more deserving of a good finger wagging over QC issues that I would put ahead of MM. [/quote] Fair point and you are right some truly awful stuff out there, I think I was overly terse and a little tongue in cheek as someone had put a picture of an MM hence the comment, otherwise I would not had said it at all. In my defence (!) to me it only seemed like the newer basses they had on display (I picked up every one they displayed at the bass show) that felt different and a little cheaper compared other basses they had produced throughout the years. Granted my experience of them is way less than yours, but I had a mate with me who would sit in between us with regards to experience in Rays and he felt the same thing. I am not sure if it was the lacquer or something else, but even amongst the same range the necks felt different on each and whilst light the body felt cheaper and a little soul less, nothing like my previous experiences, and I had gone in potentially cash in hand for a Caprice or Cutlass. In contrast the Sandberg booth basses (and I didn't like them all) overall felt of a better quality. But yes, I agree with your comments, reckon I gave unfair demonisation and was a little too scathing, however for me the Sandberg's like or loathe the sound still have a little edge on production as there is currently still more of a handmade personal element to them I think Cheers

Hi Hiram, I am fully prepared to be wrong, I am not sure it was the lacquer or something else they were using, but when I went to the bass show I was full of excitement to try a Caprice and Cutlass, but the ones on display were awful, even the Ray, The Albert Lee was great. Really disappointed as older Ray's I have tried seemed better and it's not just because they were worn in Still both sets are fine basses

Also try other makes out of the usual big if you can, for example the Jeff Berlin Cort bass has one of the best bridge pick ups you will find There is no wrong or right, just what is right for you

Dead zone is bass specific P's and J's are great basses both will serve you well. My advice work out which you want first and get a quality one, save up and then get the other one then all basses covered

Yep Agreed with the above Mark is a good guy at classic and cool, dealt with him in the past, he has a few in stock, but if you are going bespoke depending on what you want it can be up to 9 months. Main reason for this is if you get the full masterpiece treatment, they don't have many people (maybe only 1) doing the ageing as they are so precise about it

Yep Musicman copying Sandberg except they put their guitars together real cheap and they feel awful, at least the new crop do

@ead nice set, and that Dakota red, lush. I love the aged look, but that one is a fine piece of art all pristine

Well if we are starting photo's Got em near enough the same colour so the Mrs only thinks I have 1 bass.....

Oh you also forgot to add how the generation II Californias have different sleeker shapes, lighter bodies and are more ergonomically sculptured than the Fenders and are beautifully balanced so it takes away from the mystique of back pain, being a stronger person By wielding a heavier bass....

[quote name='Misdee' timestamp='1496345171' post='3310769'] I'll talk you out of a Sandberg. The headstock is too big and ungainly. And those oversized single magnet slugs on the Fender -style pickups don't look right. And I don't like the name either. [/quote] Standard pick ups, you can choose large pole vs small pole and 2 Per string depending on your preference in how magnets pick up string vibrations as well as your Alnico generation. Other than that valid cosmetic points Dali vs Picasso vs Rembrandt etc

My physics is basic, but the figures they rarely publish are the duration of the wattage and whether it is continuous despite the numerous bursts we should not audibly notice. My guess is the Elf will not give 200W continuous ad infinitum and tail off and the sound will drop or it will overheat. The key to these power devices is do you use Tripath, ICE or Hypex power for them, each has their own benefits and sound from more sterile to warm, and then you modulate your pulse width. If you want continuous sound you have to cool, so if you take the dUg Ultrabass for example and take the top off, most of the inside is space. It will be really tricky to get a powerful bass amp tiny, but we are getting them light

My 2 pence on the paint job - I couldn't care less what it looked like, if it does the job, the dials are easy to read and use I am in. I agree with no switches on the side, everything has to be up top, even on my beloved Cali76G, the Germanium dial is at the back, unseen, so any changes in the fly are hard to see. Am currently going through the website and sound bites to see what they are like etc. Although I am just a happy hacker who won't change the world, but likes gear so I will take no offence if my wish list is ignored!! First impressions for me is I like the range, and local, it's always good

Oh and I use a Two Notes Le Bass and or a Hartke VXL, Cali76G compressor into a Darkglass amp. Also played it through a Hartke LH1000, and a PJB Bass Bass CUB All sound great. I am not an Aggie man, but would never disuade someone if that is what your ears are calling you to

[quote name='Westenra' timestamp='1496328542' post='3310583'] Whoa wasn't expecting such love for the Bergs! Could the VM emulate that jazz bridge solo'd sound? I'd personally like to have a "Swiss army knife" bass where it can be super modern, then with a twist, probably into passive mode, have a old school P sound and a solo'd jazz one too. What kind of amps are people playing them through? Caving into the Aguilar TH350 pressure! [/quote] Depends on what kind of jazz sound you want? The neck pup on the Jazz gets close to a P sound and the tone roll off is very responsive. The Jazz sound is lovely. A TT Jazz will give you this with a more modern twist as the bridge pup is closer to the neck, again delano's more hifi, sandberg or Haussel pups more warm and vintage. The TSBS is a string through and the pups are slightly in between, not a huge difference IMO, and I don't like the yellow. MarloweDK has a slimmer neck than other TT's, different ageing pattern to the body and the bridge pup is closer to the bridge giving it a more 70s Barky feel when dialled in. The way to see a VM is like a P bass but with more clarity for pushing through in a live setting, you may not get the satisfaction you want from the M bucker alone. Fully passive or active and passive is purely your choice. I have a lot of pre-amp pedal push so purely passive is good for me. To me they do some of the best ageing, if you like that. As Cilla would say, the decision is yours...

Lewis, you a guy who knows his stuff, but i agree the set up is really clear esp the tecamp and if you had Delano's there is your answer. Delano's prob better live as they are clearer and a little hotter, Sandberg pups more vintage Universally whether people liked the sound or not, NO ONE doubts build quality

DEFINITELY not TT pups I even messaged Sandberg direct and they said Split pick up neck and M pick up bridge. Some web reviews say the split is at the bridge, this is wrong. So it's probably a VM either that or an MM If anyone out there has one, please take off the covers and share?! Mark at classic and cool guitars in Devon has one for sale now and has a few popped through his shop so he may well be able to confirm or deny