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About thodrik

  • Birthday 16/05/1986

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  1. Pretty much word for word exactly what I was going to say!
  2. Generally any old Mosfet or valve amp can be repaired by a qualified tech provided that they can source the correct parts. However a lot of those amps are now 20+ years old and parts can be scarce and in many cases the cost of repair will be greater than the actual market value of the amp. Class D amps are so high tech in comparison they are not capable or any kind repair if the power module fails so if they go wrong it is usually more economical to buy a new amp if it is out of warranty. Buying new, I would say Ashdown or Orange would be a good bet as they are large companies with probably a big lot of capacity for parts. I mean, you could also buy a Matamp and I am pretty sure they would repair the amp if it went wrong. Generally I find EBS good in terms of sourcing parts, but I think I have sourced about 4 lightbulbs from them over a 13 year period on the Fafner.
  3. True. For my own current situation (live band, heavy rock loud drummer, two guitarists with valve amps, often minimal on stage monitoring) having an amp and cab (or just a combo) on stage at least gives me a chance of enabling the rest of the band on stage to hear what I am playing even if the onstage monitoring is non-existent and/or useless. I generally set up according to the rest of band. If the rest of the band want to go the IEM route then I would be up for it. If the guitarist wants to use an old 100 watt Marshall valve amp (hopefully with an attenuator) then I am game for that too. After the last 18 months of the pandemic I am pretty much game for anything!
  4. The Eden model on the original Bass Pod was my favourite setting when I was a teenager. I always wanted to try a proper World Tour amp as a result. I still never have though!
  5. For smaller venues when I'm on tour and have no idea of what the provided PA and monitor system is like (or what the local soundperson operating the PA system is like), I like to have an amp and cab so that I can at least be sure that I will be able to hear myself. If I was a megastar playing larger venues with a top level PA or if I was in a function band that owned its own PA then I would certainly consider going the 'in ears' route. However, I am not so I don't. I do love the mechanics of amps in general, so I do own a massive valve amp and a 6x10. However, for practical gigging purposes it is an entirely unnecessary set up.
  6. I only tried an ‘original’ Japanese MetroExpress one. I didn’t try any of the newer Warwick made MetroExpress ones that come in at a much lower price. I have heard though that the new versions of that are much better than the initial production run.
  7. Well, in terms of the fit and finish and generally level of the fretwork, the Japanese MetroExpress was pretty much on par with my Metro. It was just the volume knob that was the issue, though that should not be an issue on a £1600 bass. I also don't think that the Metroexpress line were done in the same workshop by the same people as the original Metro line. It was designed to be a factory 'production line' bass to be manufactured in far greater numbers than the original Metros, but I don't think many actually got made because of various issues in terms of actually getting the basses produced. From playing one however, I would probably opt for a German Metro or a Sandberg at that price point.
  8. I think you are talking about the pickup blend pot. I was talking about the volume pot. For reference I have an NYC and Metro. In the Metro Express the volume pot worked the other way round from the two I have. So unless the Metro Expresses were specifically designed to have the volume pot going the other way then it was an error in the production process. Fit and finish was really good though.
  9. I tried one in the Glasgow shop. Really nice fit and finish, however the volume pot worked the wrong way round, which was something that definitely would not have happened with a Japanese full fat Metro of the time.
  10. I actually didn't mind Stadium Arcadium and thought it was a return to form after By The Way, which I found to be entirely boring apart from a couple of tracks (I think Don't Forget Me is one of their best songs, even though it is very similar in structure to Other Side) Honestly, I haven't really listened to them after seeing them on the Stadium Arcadium tour. It was the most uninspiring, phoned in performance I had ever seen at the time, which was an impressive achievement on account that I had seen Van Morrison a few months prior. I probably will give this one a miss too.
  11. It happened with a guitar to me but has never happened with a bass. I bought an American Deluxe Fender Toronado as my guitar in 2006 and really liked it. However, when I tried a Les Paul for the first time in 2016 my mind went 'my guitar feels like a toy' by comparison. I ended up buying a different Les Paul in 2018 and sold the Toronado to fund a Mesa Big Block 750 six months later. That was the first time I sold a decent instrument as I normally keep them, however I needed the cash, never played the Toronado and I really really wanted that Big Block!
  12. Got a set of D’addarios with no E string. They suggested I contact the retailer, which was Stringbusters who went belly up the week after I bought the strings. D’addario promptly sent me two free sets of strings.
  13. For me, for the purposes my location theses, my main query is 'do they deliver?' or 'will they cooperate with me making arrangements for a courier to collect?'. Generally however my main concerns are: - what can I afford? - what amp am I using it with? - what is the impedance rating? - what is the watts rating? - if it is used, have any drivers been replaced? - can I lift it? - do I actually need it? As a result I have bought exactly one cabinet in the last 12 years.
  14. The Mesa BB 750 is my 'big' amp of choice and I generally use that over a Trace Elliot V6 or EBS Fafner. However, once you put the amp in a rack case (in particular the Mesa branded wooden case which weighs a lot) you are not really saving that much weight over an all valve amp. It is a bit lighter, but it is still a lump to move around. The Mesa Walkabout however is much lighter, has a more flexible EQ than the Big Block and can deliver a great tone. The Walkabout has been my main 'day to day' rehearsal or gigging amp for the last decade. It is 'only' 300 watts but through a 4 ohm 2x12 it should have plenty enough headroom for gigging.
  15. True, though I would have thought a shop selling them would have a 'well the first batch were rubbish but they are sorting things out now and the batch we have hanging on the wall are really good,' rather than a 'the partnership hasn't worked and the new RSD ones don't feel like Sadowskys' view that was given to me. Still, I personally think that the partnership will work eventually once the teething issues are resolved (and 2020 was a hell of bad time to launch anything). If anything I think that the made in Germany Metros look nicer than the old MIJ Metros in terms of range of finishes. I have always fancied carrying out a Sadowsky pre into a Sire as well! My nephew has a Sire and I was really impressed with the build quality.
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