mazdah

CS-2 or CS-3 copy? They are quite different. I have Sustain at 2 o'lock, Attack on max, level to unity gain - Juan Alderete settings

For me it would be a Boss CS-2 Compression Sustainer. For 20 years of bassplaying I hated compressors, never used them, never needed, never liked how they affect the sound and the feel of the instrument. Until CS-2. WOW. My number two would be Xotic Bass BB Preamp. My favorite OD combined with my number three - analog Boss CEB-3.

It's an older version (first half of the nineties most likely) of current 500W SVT-410HE. It has four speakers of an old 400W SVT-810E, just like the modern one has four speakers of modernSVT-810E I wouldn't dare to gig with a 7-PRO thru this cab, but I do with SVT III Non Pro and the cab works fantastic and sounds great. It is a perfect match for SVT-III and should be as good with 3-PRO. EDIT: It is quite heavy since like all Ampeg cabs from the first half of the nineties it is not made of plywood. But the sound IS there and I dare to say - it sounds little bit nicer than the newer version.

Whoa I'm in deep shock. I had EBMM SR 5, EBMM SUB5 and I currently have EBMM Sterling Classic 4. And all of them gave me the same big problem - they do have THE PUNCH. They are LOUD. They are FAT. I had to fight them all the time - no matter how light I touch the strings I hear and feel EVERY note up in front, like a kick in the face. Whey I play my P-bass I'm sitting great in the mix, giving the solid foundation to the band. With the Music Man bass... me and the drummer are the band, the guitars are lost.

I use SVT III non pro with older 200W version of SVT-410HE. I really like this setup, plenty loud, sits great in the band mix. I also liked 3PRO, but III is more focused and not as dirty. Here is the manual. https://ampeg.com/support/files/Discontinued User Manuals/SVT-III/SVT-III Manual.pdf

There is one in Poland for sale. http://ampbroker.pl/en/head/712-ampeg-svt-iip.html?search_query=ampeg+svt&results=48

The Marshall website no longer has Eden listed as a brand. Looks like they quietly pulled the plug.

I think there is SOMETHING going on, since Warwick Gnome is essentially THE SAME amp as Elf.

I know that story To be honest, I was so hooked up by that when I got my AMP few years ago, that I end up with corresponding stack: AMP-BH-420 SWR PB-200 - first SWR model, unfortunately mine is a little older - from 1987 Eden D-410T - "original David" - unfortunately newer one - with golden horn and plastic recessed handles. There is one older - looking just like Goliath - dirt cheap nearby, but the thing is so damn heavy, that I won't be able to take two to the gigs SWR Goliath JR II - I'm afraid not many original " Made by Eden Goliaths I" survived to this day. This setup made me ultra happy and ultra worried at the same time. The amps are perfectly serviceable nowadays, but there is no way to find replacement speakers or recone parts so I must be careful No gigs in the future because of the covid outbreak, so I took them all home, to make neighbors mad... Dragging 40,5kg Eden to the fourth floor almost killed me.

100% Solid stare: AMP BH-420, which is also the best solid state amp ever created (Thunderfunk I consider as the same amp, with tweaks). hybrid: I think I loved my SVT-3PRO, my ABM300 and currently I love my SWR PB-200.

After many years with Ampeg and brief affair with Ashdown I went nuts and got myself an SWR amp with ancient Eden d410t (original David) cabinet. Couldn’t be happier! Want more SWRs!!!

I’d go for Vietnamese, or older than 1999 USA: us made Ampeg cabs from 1999 to 2006 were from osb board; Vietnamese, Chinese and Korean are true plywood.

Certainly it’s not the best, but it’s way better (for me) than AKG D112 - since this microphone and my bass cab are both a little mid-shy. I use flatwound strings, lots of drives and fuzz, so I never reach above 3kHz and my cab is quite heavy on the lows (Ampeg SVT410Hlf) so the mic compensates a little. Apart from low-end loss, SM57 has quite flat characteristics in spectrum that interests me the most. Of course they are WAY better microphones for bass, but I consider SM57 as a “Swiss knife” - good enough for guitar, vocals (Tito and Tarantula singer uses 57 instead of 58), bass and even kick-drum (seriously!). For live applications, where there is no need for details and no need for bass-heavy sound I think SM57 is great. if the stage is small - in most clubs - I get better sound and Better overall mix with band without FoH at all.

Well I always wonder why they always insist using DI and after few minutes of struggle I say Once again “hey, try putting SM57 in front of my cab” - and after that the only knobs FoH engineer has to turn are gain and volume on their mixing desk…

Helix, Kemper, Fractal, Line6, Zoom .... I've heard that before. When Zoom multiFX were relased (I rememver 505/506 models) the predictions were the same. And everyone was saying, that the quality of amp sims from those effects were so close and so great to the original, that you won't need an amp anymore. They are convenient, having many good and useable sounds in single, lightweight unit saves space, money, energy and time. But when it comes to PURE sound quality, richness and dynamics I guess we need another 10-20 years of intensive R&D development to get close to an old, beaten up, 30 years old SWR amp. For overdriven tube amps like SVT, Mesa D180/400 or B-15 I'd say another 10-15.

No joke here. For the price of HB instrument you can buy 4 packs of strings. Or 2 packs of strings and 2 instrument cables. Or nice octave pedal by Boss, MXR or Valeton with pack of strings. That’s good value for money.

There is no quality in Harley Benton instruments other than low quality and poorest value for money. I was curious enough to buy their 51 precision and had to bypass the volume and tone pots to get some kind of low and thin signal pass through from the weak pickup. The fretwork was poor, the body had two sets of holes for pickguard. I also tried their JB and it looked and felt like a Squier VM but before “final touch” - sanding and smoothing the curves of the wood. Terrible. Maybe I had bad luck, twice. But I wouldn’t buy that as a tool and expect others to pay me for the “job done“. It’s like serving premade microwaved dishes in the restaurant. But we are drifting away from the topic, so we either end here or move to bass or food section

I admit, maybe I overreacted since I'm getting kind of frustraded seeing that a lot of players sacrifice the quality and tone for pure convinience. Today I got Peterson tuner for the price you could get a beaten-up Boss TU-2 few years ago. I see pro SWR or Eden gear people are unable to sell for pennies, just because the amp weights 10-15kg not 2-5kg when indirect comparison those amps will deliver way better tone through cabiet and most of the time through DI than most modern lightweights. I stupidly tried to sell my AMP BH-420 dirt cheap - without any succes - and I know I can put it against any modern produced solid state amp and deliver clearer tone, better dynamics, better headroom and less noise (mechanical since it is passive cooled and electrical). I see a lot of great instruments people are unable to sell, just because there is Sire or Harley-Benton hype. We should aim for delivering the best, not the easiest As I stated above, my reaction might not be totally fair. But I've never had any problems with MXR products and while it's not my favorite brand, I consider them solid and high quality. Also - many problems with effect pedals are caused by poor and cheap power supplies - especially those without transformers inside (the ones that look like phone chargers) or daisy-chaining. Maybe I'm just lucky, because my main dirt pedal for now is Pro Co Juggernaut, well known for being the worst and most problematic dirt pedal ever created for bass - and mine is dead quiet in operation and switching (most problems other people had with loud pop when switching). But I also use some cheap gear - like my Behringer monitors - without any issues. I also have some riddiculously overpriced and very low quality gear like Sovtek Big Muff (black russian - I paid about 50 pounds 10 years ago for brand new and it was a fair price, sold it for 35 and got it back for 100 recently) or Sovtek BassBalls which I love but I don't use because of quality issues. In conclusion - my apologies if I offended anyone. As mentioned above - I just thing we should not sacrifice tone and quality for convenience - and money saving

I was referring to the quality rather than being a copy. For example you have many version of Jazz Bass: vintage Fender (old Boss), modern build Lakland (MXR) and of course you can buy from aliexpress (valeton) - for the price of 5 packs of strings it’s up to you whether you can hear the difference and pay for the quality and durability or choose cheap (even good sounding) gear. for me - I’m too poor to buy cheap.

MXR M280 Vintage Bass Octave is made as a copy of vintage, MIJ BOSS OC-2 borrowed from Janek Gwizdala. I'd rather choose MXR rather than cheap, chinese Valeton OC-2 rip-off.

My friend is selling here his Euro 5, god how I love this bass. He is a metal guy, so we are both surprised every time I play this Spector I get instant "80's Pink Floyd sound"

I really liked greasebucket in Am. Special P I had at home for a few days. Can't see anything wrong in it. I have vintage spec. P with .1 cap and it's unusable mud city when tone knob is closed for more than 1/3 of range - with a lot of volume loss. I've modified it to more modern specification (.47) and was much better, but eventually few months ago got back to original - I love this bass just as it is I use it with 10-years old LaBellas 760 FL. But removing sould be fairly easy - just throw away everything that is not a pot or cable and put .47 cap in the right place The capacitor costs less than a single bubble gum, you can buy a few and experiment

Jap Fenders are tricky. Their build quality is always top notch, but sometimes you can find a bass with basswod body - especially in their 62 and 57 reissues with small tuners. What can I say - basswood is OK, but in my opinion a little dull sounding in classic P or J. It's also lighweight to the point where bass looses it's ballance on strap (getting neck heavy) - that's why they used lighweight tunning keys.

Best sounding modern all tube Amepg Amp.