Beedster

Despite what we may think, we rarely buy the best tool for the job, which is why Fender are where they are and G&L are where they are

Sad but true

Yamaha’s next buy?

....although he now plays wooden necks again...... (will be a great bass assuming it's what I think it is) 👍

Spend the amp cash on a decent acoustically oriented DI e.g. EBS Stanley Clarke and go into the PA or if needed a powered cab, you’ll have far more options and with an acoustic some of them are life savers 👍

It's the modern way 👍

Waits meets Springsteen, nice work 👌

I totally agree, trust is a big part of choosing gear for me, which is why I’ve ended up with amps from only two brands, Mesa and Ashdown, and cabs by Mesa only. Both Andy at Mesa and Dave at Ashdown have given me great advice also 👍

Came across this by chance and was thinking that if not you Andy, someone here should 👍

I can't find the car thread but the immortal line that sticks with me is "Mate, your f***ing cab has broken my car.....". We got the 1516 in the back, were walking around to the front seats to get in when we heard an ominous crack from the suspension. The rest, as they say, is history 👍

Here's the first, it still makes me laugh every time I think about it mate......

Mesa and Boogie….?

Damn, decided to go for the 800D given stock arrived in the UK today AND THEY’RE SOLD OUT ALREADY 😡

I agree entirely 👍

I must dig out my two 1516 stories, one in which it broke the singer’s car, the other in which it created its own horizon rendering it apparently invisible to the human eye 👍

Now then, when a man who holds more Mesa stock than do Mesa buys a new Mesa unit we should all sit up and take notice 👍

Wouldn't work, part of the tone was the direct result of the gravitational field that was itself the result of the mass of the cab

Thanks for that Andy, a really nice story. I'd guess that the success of the Ampeg small format all-tube models from the PF-20 through the 50 and up to the V4B suggests that there is a market for all tube heads below the more usual 300w plus, in part perhaps because for example the post power stage DI on some of the models makes them a far simpler gigging and recording proposition? I have to say I'm currently looking down the back of the sofa to see if I can scrape the cash for the 800D, had it been the all-tube model I initially thought it was, I'd be parked outside Anderton's already

That's a reasonable question but, actually, if the school bass was also my main gigging bass, yes. I was walking into a venue for a gig I'd been really looking forward to about 15 years back with a DB worth around £1000 in a case worth around £50. A complete prat decided to try and 'nip' through the door ahead of me, in doing so pushed me slightly off balance, and the result was that the bridge hit the door frame, was knocked down, which broke the (f***ing expensive) wound gut E- string, but which more significantly caused the soundpost to fall. I was in a small, relatively dark venue with about an hour to fix it all, so decided instead to get my fretless electric backup and use that. Not the end of the world but the sound and performance was way off what I and the band had hoped for, especially given it was a trad music venue. In short the cash I subsequently spent on the Soundwear had nothing to do with the value of the bass and everything to do with getting that bass in and out of venues with hassles. And it did, it's one rugged, robust, and reliable bag 👍

Re Dreadlock Holiday I suspect that 10cc would agree. There's a post on here somewhere from about 10-15 years back when one of the members was playing in an Americana band that, as many did, used a Confederate flag as a stage prop. A member of the audience took offence and I think there was some discussion about the legitimacy of that response. For me the bottom line is that I would never want a member of the (relatively small) audience I play to feeling in any way uncomfortable at one of our gigs. Our guitarist suggested a track a while back and we were all a little surprised that our drummer said no, and did so categorically. It's quite well known song and the lyrics in question were (I assume) intended by the writer as deeply ironic. But the drummer was firm and argued that if he felt uncomfortable with the ambiguity about the irony, so might others. It was quite a helpful process because it allowed us to get to a point at which we agreed that given the sheer number of bloody decent songs out there, we should never feel any pressure to play a song that might make us or any of our audience feel uncomfortable. Does this mean that I feel that music shouldn't create discomfort? Not at all. My view is that all art should have that power. But I think there's a big difference between us lot playing a song that creates discomfort for either us or the audience, and the original performers doing the same. I suspect the difference is the the artist/entertainer distinction, the original performer was the former, while we are in real terms the latter.

Andy, at the risk of derailing a thread celebrating what is probably an outstanding unit, when I saw the photo I have to admit my heart leapt as for a few seconds I assumed it was an all tube head. Dare I ask whether Mesa have any plans to build a small-format all-tube head like the Ampeg PF-50t?

Is 'too much preamp' fair, given at least some of that is design. There are purely passive basses, passive basses with some control over gain and cut of two or three audio ranges (possibly Sadowsky, I can't really remember to be honest, but certainly perhaps a Precision with an East P-Retro circuit), and basses who's output is probably more a function of the circuit than of the otherwise passive instrument housing it, which in my experience would be Wal, Status, and EBBM. Whether with the latter you hear to much of the preamp is a horses for courses question perhaps?