bremen

It certainly is helpful, thanks Ead, I'm very tempted to get one of these. Is the heel the same dimensions as standard J/P? In the event that I don't get on with the J body and pickups, would I be able to stick the neck in a P body? Thanks

That's a very Metal looking bass. Speaking of which, whatever happened to the What's The Best Bass For Metal thread? That was funnier than the Memes thread for sure.

OK we could go on forever as a "well designed power supply" is a matter of degree and isn't necessarily a feature of many bass amps, mostly they're just found in high end class d power amps. Point is though, anyone expecting more than a marginal increase in loudness by choosing 4 over 8 is going to be disappointed. Confirmation bias aside, and of course that's always worth a few dB!

Not quite. Few amps are ideal voltage sources, there's generally a bit of sag.

Sure, my Chromes have been dead and alive for 10 years. Roundwounds are the consumables we're talking about.

I used to do this back in the day and it seemed to work for a little while but not long. I was never really sure of the mechanism that causes strings to "die" (they are inert lumps of steel, never "alive" to start with) apart from the voids filling with skin flakes and fried chicken grease. Does the metal really fatigue? The vibrations of a bass string are pretty benign compared to what steel has to go through in the real world.

and a nice gottle a geer

SVP Pro preamp and a solid state power amp? Even if it's not class D it'll be lighter and cheaper than the 135 (a beautiful amp indeed)

As others have noted, the relative sensitivity of the speakers is probably more a factor than the impedance. Although an ideal amplifier will deliver twice the power into 4 ohms compared to 8, a 3dB increase, real world amplifiers don't behave that well and will start to current limit into a 4 ohm load at a lower output voltage compared to 8. Swapping an otherwise identical 4 for an 8 might just be audible but new strings or a drunk guitarist far more a factor. Wait - we are talking about a solid state amp? If it's valves, I'll get my coat... Edit: sorry, Ossyrocks was more concise.

I took my Squier JagWah to rehearsal last night. It was fun. Not a hint of neck dive, and it didn't feel any heavier than my P. Action was so easy. My current band demands that I play at the dusty end; til recently anything north of the 7th fret required a weeks notice so I could neck a can of spinach and get in a couple of gym sessions. But this was almost too easy. Sounded great too, bit of a David Wm Sims tone with both pickups (weedy as the bridge is on its own) and a fat P with just the P. Don't think I'll be changing them any time soon. Best surprise though was the evenness of tone between strings. The Newtone strings might be a big factor in all the above. It does need a setup though. Intonation is a bit out, easily sorted, but there's a bit of choking going on that's not apparent with the whole band making a racket but not so good for recording. It'd be nice to keep the low action so I'm taking it for a fettle by someone that won't break it.

Thanks, all, and that's a useful link Bill. I currently use a 15 and a 10, active variable 2nd order crossover. I was thinking about swapping the 10 for a 4 but probably a wedge for the a 10 is best. It does sound good on-axis.

Whoa, first I heard them, some energy there!

Audience? What is this fabled beast of which you speak? It's mostly wanting to hear my own "tone". Meanwhile, I'm making an adjustable wedge that I can use to angle it at my ears.

I'm aware that the wider the speaker the narrower the beam, and that a pair of 10s mounted horizontally behave like a 20 (almost). I'm currently using 10 and even that is too pointy for me. Can anyone share a table or formula to estimate the dispersion angle against cone diameter for a given frequency? I'm contemplating a 4" driver crossed over at (very approximately)200Hz. Thank you. I'll go and post something on the Bad Jokes thread now. No swearies, promise.

They did, yes. Two facing forward and two facing each other into a void in the middle. I realise that's a really confusing description but I'm tired.

One day soon we're going to be looking back on those piddly little 8s and 10s and going -what was I thinking!

........roadies.

That'll be a Peavey 2×15? I used one at every gig in my previous life, with an ancient Ampeg V4. Wish I still had them for the sound, glad I don't for the size and weight.

Imagine if he'd been from Loughborough.

Didn't Geddy use them?

No, he was from Yorkshire. Hence the Fender Tadcaster and the Doncaster. He later crossed the Pennines and came up with a new guitar, but unfortunately sales of the Fender Lancaster bombed.

That's a really likeable pair of reviewers and players. As we all know, Hell is smooth!

Well, that's a lot of conflicting opinions on the elixirs. Maybe I should just start washing. I used to use Warwick reds, they didn't stay fresh much longer than rotos as I recall. Thanks for the heads up on the Hardly Fentons. At that price I can afford to change them every time they go out of tune.

Ah, that sounds do-able, I was exaggerating a little; few-days-old roto is good! The main problem I have is the uneven ageing. Probably because I play most of my favourite notes on the A string, the G not receiving so much of my DNA. So if the coating keeps my manfilth out of the windings they might all grow old gracefully together.

Think I'll go with "not", save 60 quid. Cheers!