crazycloud

FSOs. Simply don't like any of them aesthetically and I find them uncomfortable, and the US ones are phenomenally overpriced for what you get; and that's for stockers, not CS. Plus no 6s.

And then used them to write a song called "Lickin' My Donut".

I nearly bought a S/H one a few years back. It was an early model with the 2 piece Warwick style bridge but it had had the snot beaten out if it - restorable, but the pawn shop it was in were reluctant to let me bring in tools and check action, TR function etc, so I told them to sod off. Since then I've always wanted one and I found this by sheer fluke searching for something else, saw the sale price, slept on it for a day, then bought myself a Christmas present. It will look a little odd in the rack with the SRs and BTB, but hey, so am I.

I have a new one on the way that I just got at an incredible price.

Why?

TMB35 https://www.ibanez.com/usa/products/detail/tmb35_1p_01.html

I want to try the 6, even though it's a 35, but I can't justify another 6.

I'd like that in a 5 E-C, but it's only available in the penal colonies in baby barf green.

I had one for a while. Not bad, sounded fine, I gigged with it a few times - then I got a real Status (S2000). The Washburn was moved on simply because it wasn't played. Now I've moved onto 6s, even the Status gets touched rarely. Too much sentimental value to sell it though.

One of my relo's told me a 'dark sound' is the sigh you involuntarily give after having a sip of this...

Likewise, I've been a NUX MP user since they came out and use some inexpensive Superlux HD681 cans, maybe 20quid. More than good enough for practice etc and I have a whole bunch of other (expensive) cans to compare to. Been using this end the earlier version for several years. https://www.rtings.com/headphones/reviews/superlux/hd-681

It's nebulous and means whatever you want it to mean. The only way I've ever been able to understand another person when they use these sort of descriptors is to be in the room and listen to what they play or change to know what it means to them. And even then, not always.

Sweet, stop making me GAS for the 6! But your pic made me think of this...

Congrats on the new BTB. I'd love the 806 myself.

Loads fine on Brave and Chrome on my PC, but it's as slow as a dial-up.

Sofa so-good? Glad you're enjoying it, always a bit of a risk with any custom. It is a beautiful bass. Play it in good health.

I sold my Jag because of the stupid overlarge paddle of a headstock and heavy tuners, and kept my Samick SS with tiny headstock that otherwise looked similar, has perfect balance, sounded great and cost about 70 quid S/H mint. Perfect description of the Jag. Why pay for and carry a seat and be limited in movement on stage due to foolish ergonomics?

I have the 6 string version and it's great and played out with it at a community gig a while back and would have no hesitation in using it again. There are several other more expensive SRs and a BTB in my collection and it's not embarrassed in their company. The neck is stable as all get out and the humidity varies a lot here on an almost hourly basis it seems. The only thing I don't like is the finish, but for the price, I don't care.

I've modified so many basses, I wouldn't know where to start. Pickups, electronics, bridges and tuners have all been changed at some point, with the first two being of my own design and build on occasion. My first bass, an Ibanez Blazer got an addition SD Jazz PU in the bridge; I paid for it to be routed but did all the rest of the work myself. Currently, I have several instruments, guitars and basses with parts on hand or in transit to modify. One day soon, I'll just clean off the dining table and spend several hours and do them all at once. I'll post details when they're done. PS: First big job is the new music room, desk and recording area. I've been waiting on the custom commissioned desk for over a year, but am going to 'outback modify' another desk I had in store for the purpose. It's still too small, but will have to do in the interim, and the 'rack' will be components stacked on top of each other on a milk crate sized box.

^^ I love the irony of your T shirt.

I wish Ibanez would just start making basses with EMG dimensioned pickups to allow a greater selection of aftermarket - hell, they could even have the BH2s in EMG40/45 and I'd be happy. Imagine what their guitar sales would be like if they used an unusual dimensioned pickup.

You've sone comparisons of the same system, with simply different enclosure construction, ie same driver, same tuning, same net volume? Otherwise it's apples and oranges.

The best value class D module is the HB Block 800 which is an IcePower AS700 module. Keeping the EQ flat and the comp off it seems flat to me, but as I'm building a new workshop ATM, I'm not set up to easily measure it. Going in through the FX return is almost certainly flat.

Providing the cab itself is properly designed, there is no reason why this should be so, and it is far easier to brace well a moulded cab than a simple rectangular cuboid wooden one. I'm basing this on doing a lot of speaker design over the years, including measuring cab resonances with accelerometers.

All of the above. I've been using wide bandwidth, high fidelity type cabs for decades simply because I don't want a baked in tone from an amp/cab but the flexibility to create it, and vary it according to my needs. Next year I might be getting back together with the girls to gig again and I might be using bass, electric and acoustic guitar and baritone, depending on what we actually play musically. Add a clean amp, a 'FRFR' cab and a modeller like a Stomp and I can get all the bandwidth and clean SPL I need for any type of music in the one rig. I design and build my own rigs, but the best I've heard in a single box is the Yamaha DXR15.2.