Muzz

I really liked the JB-2s I've tried, if they did a black one with a maple neck (yeah, I'm shallow and easily influenced by looks ) I'd have bought one when I was looking at them.

I think it does depend entirely on the individual bass: my old 78 Jazz was a shocker - 11lbs 13oz, and not a great player, either, but it was mint and all original. The buyer spent a fortune on it, so they must have wanted it (they played it first), but for the life of me I don't know why. I think it speaks volumes that the highest prices are commanded by the ones which are most 'original', which have the ashtrays, and the original case. Says more 'artefact' than 'instrument' to me...

I've had a long-standing urge to buy one cheap (£290! Blimey...that'd do) and gut it, then build the bits into a better bass. It was the physical bass itself that put me off, especially at the £700-mark. There's a couple of builds online where people have done just that.

I've got a Wizard 84 in the bridge position of my (coincidentally black/maple) P/J, and it's the only bridge pickup I've ever considered using solo. I still don't, because I've got a Wizard Thumper in the neck position, but it makes a more effective contribution than many bridge P/J pickups I've heard. Great pickups.

Yep, I've found the -15db at 30Hz on my M-Pulse a useful setting. It's about all I use the para for on mine, though - the basic Bass Mid Treble are enough to get a great sound.

First proper gig was 1979, tons through university and when I was single, then I had a decade or so off, been back on it for a few years now, I'd worked it out last year around the 1000-1100 mark

I'm currently using a M-pulse 360 ( I'd love a Walkabout) and it's definitely underrated in terms of numbers : I had a LMIII for a while, and they both have plenty of power. The cab is an important part of the equation, though, my Schroeder is a very sensitive cab and sounds very loud with every amp I've used. I'd ask Alex his opinion, I'm sure he'll be very helpful.

Having said that, the massive hikes in Warwick prices haven't exactly pulled up secondhand prices - they're as low as (if not lower than) they've always been.

I got to use a Super Twelve T recently at a rehearsal, and it was very, very good. Very light, and a nice tallish shape so you can hear it pretty well even if you're standing close to it. It sounds even better elsewhere. Loud enough and deep enough for just about anything I can think of, and I use ACS ER15s, we rehearse that loud. The finish (handles, etc) is the only thing that doesn't feel like a £750 cab, but the built-in wheels are a great idea. Having re-read the OP, I'd say that for more punch, definitely consider a Schroeder - the low-mid hump of these really sounds punchy and present in a band situation, mine's great for the two-guitar rock band I play in.

Yep, Spike's on the money there, too - IIRC Martin Rushent compressed the sound very heavily in the studio.

[quote name='Clarky' timestamp='1343772479' post='1755161'] Um Bongo [/quote] Thanks Clarky, I've got a keyboard to clean now...coffee with sugar, too...

Horrendous bodge*. * Coincidentally, Uruguayan goalkeeper in their 1930 World Cup-winning squad...

Ooof! I don't normally like rosewood on Rays, but that really works with the blue.

I've got a set of Roto Nickels on my Fenderbird, and they're OK, but I'll probably try DRs or Newtones when I change them soon. One annoyance was the silk winding, which interfered with the saddle on my Supertone. I never understand why string manufacturers put silks on the bottom end of the string - it's just a problem waiting to happen.

I used a Sansamp in front of my LMIII to warm it up, and, like Lozz, ended up leaving the LM EQ pretty much alone and working with the pedal.