msb

I’m in the house band that does a weekly blues jam , and a couple of the younger regulars managed to get a gig at the old dive. One has been studying music in Boston at Berklee , the other is more of a primitive , but a nice player. They invited the Sunday rhythm section to do the gig. So we had a couple of geezers and the kids , it was a fun night.

I bought Monique through a private sale , and mentioned one was on the way in a thread in another forum. Jule immediately contacted me and said that he wasn’t aware of a sale in Nova Scotia , but that he would make everything right. I immediately replied to say it was used … and he said that I could have had him going for a while there… He is a breath of fresh air. The Tonehammers have a unique quirk where the gain stage will affect the midrange , but if you use the effect return you bypass all that . So you only have the tone stack on Monique to deal with. And Monique is very simple , much of the magic resides in the sensitivity switch. I hope you will find the same joy with Monique that I have.

Now if you’re reluctant to use a dealer , I believe Jule will sell direct. Contact him , he’s very approachable. Edit … but if you have a TH500 I would try using that before buying a dedicated power source. Try it first using the effect return , and even try using the regular input. It’s simpler to dial in if you are just using Monique as the front end. One of the beauties of Monique is that she can be run with just about any power amp. After running my Monique with the Forte I’m not in any hurry to buy a dedicated power source.

I’ve been running Monique through a Bergantino Forte , I use the effect return and bypass the front end of the Forte. And I am in no rush to buy another dedicated power amp. I have tried Monique through various amps and they all work well , I use the Forte because it’s got some serious slam , and is a simple clean back end. Enjoy Monique! She brings something wonderful to the table. I’ve become a believer after using mine. edit … I saw a Demeter Minnie for sale about two months before I bought Monique. The Minnie was going for a silly good price , but I had no real reason to snag it at the time … regrets.

And another Dano user!

Festival gig last night with a bunch of Dutch Mason alumni doing a tribute to Dutch. He was quite the legend in the Canadian blues scene. Saw a lot of old faces , and players I hadn’t seen for a while. Dutch alumni are not a terribly exclusive lot , he played with most everybody here on the east coast at one time or another. It was a great night!

Yikes!

In the mid 70’s I picked up a lightly used 72 Pbass. Light. Great bass. Everyone that picked it up would invariably say “this is a nice one”. Despite everybody suggesting I drop in a DiMarzio , BadAss bridge and brass nut I left it stock. Today it seems all the rest are miraculously all stock now too. It wasn’t so back in the day. My old Pbass was pristine when I found it , today it looks like it went through the Boer War. It still plays beautifully. My only complaint was that at the time I felt it was all the bass I’d need. That was a mistake , I missed a lot of deals back before the term vintage came into play. Old stuff was cheap. Today I regret not buying more stuff. It seems I’ve tried to correct that by having too much stuff today. I think it was around 74 when the heavy ones first appeared. They were said to have much better sustain, and people would go out of their way to snag a heavy one. geezer tales

Welcome.

Max Webster was quite the thing. That would have been quite the hoser night.

At the time people would say the heavy ones sounded the best. I remember people bragging about how heavy their basses were.

This shows the difference a little better

I like little short scales where the bridge is close to the body edge , but have several that are quite set in. They don’t have the same short feel , despite still being short scale basses.

The bridge is set considerably in from the edge so it won’t really feel like a short scale. It looks like a winner.

I have a little GKMB200 that developed the pink ring of doom , but a qualified repair friend had no problems fixing it. Not all Class D amps are disposable. (the fan had become gunked up and things heated up) (yes the fan was repaired too) Also have an older GenzBenz Streamliner. The LED light was out but was working fine otherwise. When I heard agedhorse was maintaining them I sent it off to him. And it’s like a brand new amp. Well worth investing in. I do have an older SWR HeadLite that may prove difficult to fix , but it still runs perfectly … but some parts might become difficult to source.

I find metronomes and click tracks to be highly over rated. Never found one that could keep up with me.

Welcome. For some years I just had one bass. I thought it was all I could need. I was terribly wrong.

Both amp and cab design have come a long way. I used to haul a fridge around. Today I use modern , modular , lightweight gear. And have never sounded better. Now I’m nerdy about amps and cabs but simply don’t have the space to store extra stuff. And I’m not about to begin renting storage space for gear I’m not using.

The designer of the Streamliner created the Subway amps for Mesa. They are highly regarded.

I’d love to try some of their cabs , but they do not have much presence here.

Congratulations! That is one beauty of an amp. And hopefully the dealers in the UK will soon have stock. The Mesa cabs are wonderful too , although with Aguilar and Barefaced you should be ok.

I always plug into an amp , but my practice level is not loud. It’s not difficult to keep a volume knob down. I also use a headphone amp for silent practice. I live in a self contained unit so there’s no immediate neighbour to annoy. But if I was in an apartment building I doubt anyone else would hear me.