Beedster

Why should an amp be cheaper than a bass? The amp makes at least the same impact on all relevant audio variables, if not more. My rig - no longer Mesa I'm afraid to say - is worth around £2000, the most expensive bass I own is worth around £500. Whilst my technique is rubbish, I get a lot of compliments on my tone, which for me is what it's all about

I haven't read the whole thread, but Westside were certainly never the bad guys

Wonderful reason to leave it as is, really made me smile. Thanks

In Donald Trump's world of the fake everything

I've had strings out of the pack that were simply dead, one that just unwound as I tightened it, and a couple that wouldn't intonate like yours, in each case either an A or E string (I don't play 5ers). Why it happens I've no idea, I'd guess either manufacturing tolerances, poor QC or good old human error. Unless the string is a significantly different gauge to the previous string, it's the most likely solution, although probably not the only one

I think the best of way of establishing whether it started out as a Fender would be to check previous Fender models So no, it didn't start out life as a genuine Fender

Dodgy string?

I did an A-B with my old band, two Mesa Powerhouse 2x10s vertically against horizontally. I was lucky enough to have a very powerful all tube amp with a small enough footprint at the time to do it safely, a Mesa Prodigy. And the difference was pretty astounding. Nothing. At least not the difference in clarity and projection I expected. I think like everything else, it will make a difference in some situations and not in others, there are no generic rules that can be determined by science because of the huge range of variables that will change with each room, even each song (I suspect Bill Fitzmaurice will punish me for that comment later). There are however numerous cultural and aesthetic precedents - let's be honest here, no one wants to see a T-formation bass rig (sorry Bankai), and a lightweight 2x10 on it's side being apparently smothered by an SVT-II is not much better. Proportions folks. Big head, even bigger cab The golden rules therefore 1. Stack your rig so that it looks good 2. Stack your rig so that it's safe and won't kill a punter (drummers and guitarists no so worried) 3. Stack your rig so that you and the band and ideally the audience can hear the bass

I think by asking here people are looking for the type of information that you don't find on manufacturer's websites

There are PA cabs that work with bass, and those that don't. It's not just about the cab, it's about the bass tone you're after also.

Hey Tom, generally sticking a Status neck on an MM is a game changer in terms of balance string to string, clarity, sustain and in some cases tonal quality. Whether you like those changes over the characteristics of a wooden neck is another question entirely! It's a more expensive version of replacing a BBOT bridge with a Badass, some basses sound different (not always better), some much the same. The graphite necks themselves can also be marmite, I love both Status and modulus necks, but to my mind you simply cannot beat a lovely played-in bit of maple One way in which they are undoubtedly superior to wooden necks is that they are stable in terms of temperature and humidity; if you play a low action and move from place to place a lot, that makes a very big difference. This comes at the cost however of their being more challenging to install; personally I'd always get it done by a professional. Adjustable truss rod, I think yes. Board, much like a good piece of ebony to play. Headstock, graphite. If you're looking at that Black 'Ray. Yes, go for it

Amazon are stupidly fast

Oh man, this is going to be a good thread I have an old tube hifi amp that makes the kind of music I like sound like it's being played in the room (I've always believed that music recorded through tubes sounds best played through tubes, Nina Simone, Mile Davis and Motown all sound amazing, Chilis and Mumfords not so much). I'm a massive nerd, I love music for the production values as much as for the tunes and performances, so will happily listen to music on the hifi that I'd never listen to in the car, for example Dark Side of the Moon. My kids are now old enough to not put their fingers through cones so might even dig out my old floor standers to replace the bookshelves currently in use. That'll please Mrs Beedster no end

Folk revival anyone

Let's be objective about this stuff, at least the original performances - those that the audience experienced - were live, and most of the post-hoc overdubs were authentic. Hard to know what you're hearing live these days, even at gigs/festivals, but certainly on TV. I watched a TV talent show with my kids last night, those contestants that weren't miming completely (given away by poor lip sync and in one case it appeared the wrong words) were pitch corrected to the point of the Cher Effect

Ha ha, indeed, can't think why Robbie Robertson on The Last Waltz anyone? OK, it was first and foremost a Scorsese movie, so perhaps some artistic license is forgivable, but I remember hearing a guitarist saying that you can tell he's not playing the solo simply by watching his fingers, which perhaps isn't