BassBunny

Have just bought Clarky's Markbass Combo. It all went a bit tits up when the courier didn't pick up on the agreed day but Clarky sorted a work around and kept me posted all along the way. I even got a pic of the package before it was sent. No hesitation in echoing what everyone else has said and cheers Clarky hope we get a chance to meet up some time.

[quote name='GCYPbass' timestamp='1406294788' post='2510296'] Thanks again to you all for all the inputs. Was it old US made Eden or one of the newer Chinese mades? Any experience with the B series of Carvin? [/quote] It was a "newer" US one as I believe they have moved WT production back to US.

I've played all of the above but only used a WT550 in a gigging situation so can only really comment in depth on that particular model. First thing you notice about the Eden is that it has instant "tone" when you plug in. With everything set flat it just exudes a certain authority. Loads of trouser flapping low end but hugely articulate in the mids and top end. The tone section is massive, very small changes produce huge differences in the sound. This is probably all to do with the huge toroidal transformer in it. In my opinion it is probably the best engineered amp going. Military standard construction and if you have seen the picture of the one that was "fried" in a studio fire and still worked, you can appreciate the attention to detail. Only downside is the weight and had it not been for that, (and my back issue), I would still have it and it would be going nowhere. The Carvin BX500 is also a pretty meaty amp but I felt the controls let it down. They feel a bit flimsy to me and if I owned one, it would have to be in a case/rack to protect the front panel. It does everything from "grind" to "Motown thump" and all stops in between. It's very loud but doesn't have the same authority as the Eden. The Genz was the biggest disappointment as it just didn't seem to cut through at all. This was not my first experience with GB amps and it seems that other Class D amps seem to be able to cut it but the GB doesn't. Sounds great in isolation but as soon as you add the rest of the band it gets lost, a problem i have found with a lot of Class D amps. Obviously this in only MY opinion and experiences with the various models and appreciate that we are all different and "different strokes etc." Choice of cabs will make some difference as well.

G&L Tribute. No contest.

Gone in world record time.

EAD Foundation 212. No contest and as there is one up for grabs and you can't get a new one anymore, job done.

Not sure about Best or Poshest, but here are my 3. [attachment=166967:Bass Collection Collection1.JPG][attachment=166968:Bass Collection Collection2.JPG] The silver one is a 1988, the trans-red a 92 and the blue one a 2000, probably a transition model made in Korea.

Just taken delivery of a Bass Collection from Stewart. Easy transaction and Gold Medal packaging. Kept me informed along the way. Deal with confidence.

[quote name='BigRedX' timestamp='1405587241' post='2503224'] If you want to hear all the frequencies then all you need is volume and pickup balance controls. [/quote] So True. The Glock does have a "sound" of it's own and isn't completely neutral, although I do like it in the bass I have one in.

Having 2 ACG's with Filter pre-amps and a bass with a Glock, I would give the ACG a bit more time. Geeenking produced a very good "Dummies Guide to ACG pre-amps", if you PM your email address, I'll send it to you.

Someone mention my name. I'll get a group photo sorted as soon as No 3 arrives.

From what I remember it was pretty light. If it wasn't for the fact that I had a number of basses with the same pickup combination, it would still be with me. I paid quite a bit more than that for it and considred it a steal.

[quote name='sykilz' timestamp='1405191493' post='2499601'] Cheers, Bassbunny, I did check out your write up, was it a rock friendly sound, found some funky clips on youtube, but I'm more of a basic finger thumper!!?? [/quote] Difficult oneh as I am not really into rock. What I will say is that there are a great range of sounds available and I would be surpised if you couldn't get what you wanted out of it. Stunning deal as it IS a Sandberg driven model for the price of a Squire.

I had a Cort Arona. Outstanding Bass. if you check through the Bass reviews I'm sure I posted one. Cort probably make the Sterling as well.

Just bought a MarBass Markstand from Martin. Great to meet up again after all these years and always a pleasure to do business with. Even threw in a set of strings.

Just sold Cliff my Genz 212. Simplicity itself, easy deal, no bull, a pleasure to do business with, (again). Enjoy the Cab.

[quote name='essexbasscat' timestamp='1404636469' post='2494249'] Out of interest, what mic do you use ? [/quote] When we started tracking the problem down, I was using a Shure SM58. We had some Samson Q7's as "emergency spares", so tried one and it improved matters tremendously, so that is what I use now. Actually prefer it to the SM58 and with the exception of lead vox, we all use them now.

Another vote for ACG, I've got 2 and wouldn't go anywhere else. Alan can easily make one down to a weight, (my Skelf is only 8Lbs), and if the filter pre-amp frightens you, an East is an option. Once you get your head around the filter-pre, it is pretty awesome. I agree with all the other posters, you are trying to compare chalk and cheese.

I could be interested depending on where and when.

[quote name='3below' timestamp='1404163486' post='2489992'] Speaking as a bass player who has 2 x 700W amps, I have (re)discovered the secret weapon. Playing quietly (now tell that to the drummer) has paid dividends over last few weeks. I am heading towards small stage kit and stick it all through PA (with DSP). [/quote] That is exactly what I have done recently. We found that we were getting chronic feedback on the PA, which was traced back to my 500W, 2x12 Bass Rig. It was my vocal mic that was picking up everything. I got hold of a tilt-back Combo, (Line 6 jobbie), and now DI at every gig with the combo at the side of me facing inwards. The difference is astounding. The whole sound of the band is now clearer and more defined and it is powerful enough for me and the drummer to hear. I've got Mike Walsh to make an "airhead" fitting for the top of my Zoot Cabs, so I can now use 1 cab tilted back with my MarkBass head, or add the 2nd cab if needed.

We use Dropbox. We have a folder for numbers we all need to know about and then at least we are all listening to the same version.

[quote name='UglyDog' timestamp='1403438074' post='2482633'] If you really need to get the rubber off, it might be worth trying to warm it up with a hairdryer to soften the sticky stuff holding it down? It's the same trick the car modifiers use to de-badge their motors without damaging the paint. [/quote] Beat me to it. Remove the bottom plate and blast it with a hairdryer.

Dave you mentioned using an SA450, currently my weapon of choice. I've been through them all and I coudn't get on with an F1, (or any other Class D head if it comes down to it). I find Class D stuff to be bloody loud but it doesn't have the "clout" that an SA450 or LM2/3 have. Difference in technology I guess. Probably the best head i used was an Eden WT550. Tons of natural tone and really made it's presence felt. Had to sell due a back problem, but IMHO it blows any Class D amp I have tried out of the water. Maybe back to an SA450 or LM3?