thodrik

[quote name='Lozz196' timestamp='1321297399' post='1437510'] I remember most Trace gear, including the little 115 combos, being incredibly heavy. True rivals for Peavey in that respect. [/quote] Funny that when Peavey acquired Trace the gear got lighter. Two negatives equals one positive? I have been playing with the new Trace cabs for a few years. Decent kit, though I don't think that they have the same bomb-proof nature of the older cabs. Poplar ply with a small mixture of MDF (I have the brochure somewhere). I was also pretty shocked at first with how light they were. The 2x10 is almost a one-hander over short distances. Still, the Celestion speakers do they job with most heads. To OP, I don't actually think that the cabinets are really that overpriced. They are about in same ballpark as Ashdown, Ampeg Eden etc. The heads though, are really expensive, one of the main reasons I didn't go for one when I bought the cabs

I have heard a few of the American/Electric amps, though only the guitar amps. I like them, capable of a lot of dirt as said before.. I wouldn't say no but its not the top of my shopping list. I have tried to read stuff on plantoftheamps before, but the mix of bad layout/bad grammar/my lack of technical knowledge generally left me more confused than I was before. Also I find the Electric/Green/White/Black website thing to be bloody confusing.

The first one goes a bit mad scientist with the loops, near the end. Very cool, I think I prefer his work with the loops than the double thumb-tastic stuff, though that is something to behold too.

I always think 3 is a good number, two nice ones and a cheap but decent back up. Bring one nice bass and the back up to each gig. If something goes wrong with nice bass number 1 at a gig, cheap one fills in. Whilst nice bass number 1 is getting fixed, nice bass number 2 takes its place. There is nothing wrong with owning loads of basses. If somebody has the money to buy them and wants to buy a bass rather than a TV/car etc, that is up to them. Future 'logic' when I have money: 1. Since I am I based in two locations, I need a nice bass at each location. 2. Since I am so creative, I need a really nice bass in every room so that I am able to play whenever an idea enters my head.

I would take any of the ones you have listed! Sunn 300T is great has iconic status, but finding one could be a bit of a pain, as would any attempt to find a Trace V-series, or even a Mesa 400+ nowadays. Not sure if you really 'need' an all valve head if you are going to use a pedal for overdrive rather than the amp itself. But if you want one then go for it. I wouldn't discount an Ampeg SVT Classic/VR if you can find one second hand either, or a hybrid type amp like an Aguilar/EBS/new Mesa stuff. Personally though, I would get a custom Matamp if I had the money to burn.

[quote name='Stinky' timestamp='1320067594' post='1421785'] the original Clover brand was founded by German luthier Reinhard Jedanzik in the Eighties and built high end modern basses centered around SKC manufactured graphite necks. The same necks as used by Shack and Slapper basses btw. the modern Clover company was started by an ex-employee of Reinhard and has dropped the graphite necks all together and concentrates on Jazz clones and a couple of proprietary designs. all wood, no graphite. i recently sold a Clover Basstard 5 string with graphite neck that i'd played for a couple of years because it became redundant since i bought my Fbass BN5 and that was a really good solid bass with all the characteristics you'd expect from a graphite bass. i've also tried a couple of the modern Apeirons and the quality is still top notch and if had to chose between a Sandberg or a Clover i'd have a hard time choosing. [/quote] Thanks for the information. I thought that there had to be some kind of change of designers for there to be such a change.

My 4U rack case has one space free, the first three being taken up by the Fafner. I have always been tempted to get something to fill the space. It would probably have to be an overdrive circuit or valve preamp of some kind since I have no need for an additional compressor or tuner. Mind you almost three years on and its still empty.

[quote name='Mr. Foxen' timestamp='1319667377' post='1417171'] Lower cab is a BFM Omni 15 tallboy. I don't use them together as the Omni 15 gets on better with SS stuff, not very sensitive an goes much lower than valve amps will really do (although reckon my Matamp Slave will do it, is designed for such shenanigans). Here's the actual rig I use, except with a SC150 instead of a 120 now: The directional nature of side by side speakers means I can escape feedback by going off axis, giving me a degree more dynamic control. [/quote] Sweet. I'm jealous as hell.

Please tell me that there is a big heavy valve amp that goes on top as well! Great stuff.

[quote name='retroman' timestamp='1319581039' post='1416143'] Not really a totally original tone, as he does sound a little bit like Geezer Butler in the early Sabbath days, But Scott Reeder of Kyuss fame. Very under rated player, with a very distinctive tone. [/quote] I second that

[quote name='stingrayPete1977' timestamp='1319477848' post='1414680'] After 20 years I started on a five less than a year ago, It wasn't really by my own choice either as it was to play someone elses basslines (I still do) since then the fours get used very little now [/quote] Pretty much the same here. After twelve years I finally bought a five string. Now it is the main bass and everything else is sitting there unused. Not sure I would buy a four string again now outside of a classic Fender/Rickenbacker/Gibson/Musicman, which given my funds is not going to happen very soon.

[quote name='Lfalex v1.1' timestamp='1318795010' post='1406317'] It's fair to say that there's nowhere to hide when playing an instrument of this nature. The Vigier has always worked well with every signal chain component it's been plugged into, so it's perfectly tolerant of a wide variety of partnering equipment. Ergonomically, it's excellent, and it's eminently playable. Which can only leave the sound/tone, which is great. If "unforgiving" means that its clarity shines a bright light into oft hidden corners of player technique, then perhaps it is. I think I prefer the term "revealing" Similarly, if oddly EQ'd and suitably played, it could be described as sounding quite relentless. That said, a quick tweak and a softer technique and it'll simply sing. In a nutshell, precise and transparent. [/quote] I would love to try a Passion. I have an Arpege (current series) and out of all the basses I have I think that it is the most forgiving in terms of technique. I find that the EQ is more sophisticated than I need, but it is really smart and pretty subtle. The necks on the Passion/Arpege line are also pretty much the only 5 string neck I have played and felt 'at home ' on (okay I have only played Fender/Lakland/Sadowsky/Ibanez/Musicman fivers but still!).

Well the Walkabout has a really nice valve warmth to it and is very portable though not really in the class d stupidly lightweight range. I have had one for about 2 1/2 years and love it. Limited headroom compared to some of the class D digital power amp heads, but the valve overdrive is part of the character of the head. I have never felt that the head lacked volume in any setting though. It is bloody expensive now for the head on its own, more expensive that when I bought mine as a 1x15 combo. Cheaper alternatives? Not sure I have heard anything that comes close to it in terms of tone and portability, if you want an actual valve pre amp rather than an emulated valve preamp. For tone I would honestly say that the Harke LH500 is pretty damn great. Maybe the Orange Bass Terror for something really portable. Someone else here will probably say Markbass but I'm not that familar with them myself. Also Mesa do an M3 Carbine which I think is a fair bit cheaper than the Walkabout.

Just read through all this. Really sorry to hear about it. I would just take the refund to avoid things getting more complicated. Let things settle down and then look at buying again when your head has cleared. Best of luck.

It looks great but my minor criticisms: 1. 4 ohm minimum means you can only use one of the non-compact EBS cabs. ( not being to hook it up to say, 2 2x10 neolines seems a bit strange) 2. Fafner-style chicken-feet knobs would have made it look really cool. (but these probably take up more space). 3. a 'drive' option for a bit of added grit would have been nice (as on HD350, Classic 400 etc) It should be a good product, it looks fairly easy to use as well.

[quote name='EBS_freak' timestamp='1317559831' post='1391749'] This head has been in development for years but I think they may have missed the boat and the figures don't look too favourable against the competition. If you do a search for the Classic 160, you'll see the first incarnation that was first released (but never got to retail) at Frankfurt a few years back now... [/quote] I think I remember something about that now that I think about it. I am an EBS fan as well but I think that they have missed the boat when it comes to micro amps. Instead they have brought out the Fafner II that just seems like overkill for 90% of most gigging needs. I'll probably be sticking with the Fafner mk I until EBS does 200 watt all tube head or something. Not sure I'll ever be a micro amp person, but I understand the benefits.

EBS really should have had this head out a few years ago about the time they were releasing the compact 1x10 and 1x12 cabs. This should be a good amp though.

I played an LH1000 today and I must say it is a really stunning amp. One of the best sounds I have ever gotten without any effects. It was going through an EBS Proline 8x10 which may have helped. Really simple EQ, easy to use, great tone (great price to buy new as well). I am officially a fan! Really tempted to get a LH500 to replace the old Trace Elliot, but alas no funds!

CC Music in Glasgow stock Markbass stuff. Or at least they did last time I was in (June).

[quote name='dave_bass5' post='1360144' date='Sep 2 2011, 05:18 PM']This reminds me of my old Ashdown ABM head. A big plus for me was it had a mute. Not only did it click when engaged it never actually muted either. It would attenuate the signal quite a bit but it would never 100% silence my bass. Even at home levels i noticed this. Ashdown seemed to think this was normal when questioned. Never again.[/quote] Every ABM I have tried (I'm guessing around 10-15 from gigs/rehearsals) has had a similar mute. I attributed it to be a design feature rather than a fault, though I do wonder why a mute button that is not acutally a mute would be a useful design feature. So it joined the the VU meter and the subharmonic generator in the list of Ashdown features I don't really see the point of! Decent amps though. Nothing beats my old Trace Elliot mute though, does make any click whatsoever and has a nice clear red LED to let me know when it is engaged. Of course it only works about 60% of the time. So in my experience, having an amp that has a working mute would be great, click or no click!

[quote name='stingrayPete1977' post='1360606' date='Sep 3 2011, 12:36 AM']As you know I've tried; A 1x10, A 2x10, A pair of 2x10's, A 4x10, 3x 2x10's, A pair of 4x10's, 4x 2x10's, And an 8x10. Not all at the same time though Various makes and cab design but still no full fat whump for me Fwiw the best whump yet was from a Peavey TNT with a 1x15 black widow, just not loud enough.[/quote] I always thought that the Ampeg 4x10hlf provided excessive amounts of 'whump'.

[quote name='Paul Clifton' post='1360590' date='Sep 3 2011, 12:06 AM']Thank God - you scared me a bit there[/quote] Me too!

[quote name='EBS_freak' post='1360571' date='Sep 2 2011, 11:44 PM']Have you been introduced to Ashdown?[/quote] Have done, but didn't think that the old school tone was anything near the same quality that I got from the Walkabout. In my opinion anyway. The Walkabout overdrive sounds a lot more natural than the Ashdown ABMs I have tried. The drive on the ABMs just had a bit of the 'we stuck a 12AX7 in there and we are hoping for the best' type of 'valve' sound in comparison. A lot less rich and less clarity (I didn't say wooly!). Still I don't mind the Ashdowns, just not my thing.

[quote name='Musicman20' post='1360538' date='Sep 2 2011, 11:09 PM']That is the first real volume issue I've ever heard of, and the rest came from non-owners who haven't even tried it so I don't count them. Did you compare it to the Walkabout? I know of a few owners that said the RH450 had a lot more headroom. I think the best qualified comparison I can give is the RH750 vs STL900, and I can honestly say they both have a lot going for them. The bass is too much sometimes on the STL900 and the 750 has more mids/cuts better, but on overall volume, extremely similar.[/quote] There are many amps with more headroom than the Walkabout. People looking for oodles of clean headroom would probably be better off looking at other amps. For me the best thing about the amp is that it can achieve an old school grit sound at a useable volume level (ie not pissing off soundperson). I have amps that are much 'louder', but none that have the same tone. It truly 'whumps' in my view!

I own a Fafner I and the only two things that I would trade it in for would be a Fafner II or an all-valve Matamp/Mesa 400+/Trace V-type amp. The Fafner II is pretty damn expensive though (around £1700 or so I think) and has more features (and power) than I would ever really need. I would maybe be looking at the TD 660 if I was buying a new EBS amp, as the Fafner I has been discontinued. From experience although they were great sounding, I found the Proline 4x10 to be pretty heavy, which is saying something as I have been using Trace Elliot gear on and off for the last 10 years. If it sounds right though and you don't mind the weight, then just go for it. For me lightweight should be an added bonus to an already good product, not a determining factor. Thus if I had the money a Proline 4x10 would still be at the top of my 4x10 shopping list.