40hz

Completely agree. This is my problem with a lot of boutique instruments. I'm considering one myself soon, so have been really looking into the signature tones they give. I like a bass with an identity, sound-wise, and many boutique instruments/brands are very neutral and fairly bland sounding.

That's fair enough (I watched more of the first video, you're quite right). However, the Darkglass produced video is all overdriven bass, aggressive music styles and even an obligatory Dingwall!

I've always liked the Darkglass aesthetic, but I'm kinda waiting on them releasing something that doesn't cater to a modern 'metally' (for want of a batter phrase) audience. Maybe I'm just being an idiot and they know their audience and are maximising it, but I'd love to try their take on a clean, more neutral amp that doesn't focus/cater towards heavier styles, as they clearly know their stuff and make high quality gear.

You're right - edited.

Just nabbed some example images from Google, I'm crap at attaching images via mobile, but I'll try! Granted, ones a 4 and one's a 5 banger, but you can see the difference. First one is a 1991 - curvier, sleekier and much more attractive. Second is a 2018 - Much flatter and squarer looking. Not a fan. I wonder if Warwick would consider shaping a Stage 2 the old way, as a custom option?

In fairness I think Fodera was used as an example for expensive basses by the OP, not targeting them specifically or solely.

Hello all! I've been looking at perhaps purchasing a Stage 2 in the not too distant future and out of interest, had a look at the Warwick website at the pricing for a new one and options for customisation (as they appear once in a blue moon 2nd hand - usually a good sign). Having had 2 x Streamer LX's (04 + 09) and 1991 Stage One, the body shape on the newer Streamers is nothing like the ones I've had before. If anything it looks more like my Rockbass Streamer. With really defined 'flat edges' on the top of the bass and a different shaped lower horn. It looks less curvaceous and IMO, much less attractive. Am I imagining this? And why did Warwick do this? Thanks in advance!

I second this. Usually the cheaper Fenders have a brighter sound.

The first one is brighter by a gnats b*llock. Otherwise they sound identical to me.

There is joy to be had in subverting assumptions with types of basses. "That guys playing a Fodera, I wonder what flavour of 16th note jazz fusion replete with double thumbing will be coming my way?!" Bass player - Plays 'With or Without You' by U2. If you can afford it, play what you like! They're only tools. You don't have to justify yourself to anyone.

Agreed. I never really understood the love it gets from some quarters. That album is 70% indulgent filler, IMO.

It's difficult to say off the basis of one song, but I hope the rest of the album isn't like it. I love it when they've performed a 180° and done some something completely different, like One Hot Minute (with Uplift Mofo, my fave album of them all) and By The Way. However, they seemed to have settled for this bland, MoR, style since Stadium Arcadium (which I can't stand). So, even as an old fan, I'm not against them changing at all, I welcome it, just make sure it's something wild and worth doing!

John Frusciante is an absolute guitar god. His playing is just on another level to anyone. IMO.

Late to the party here, but IME, Ampeg are the closest to the Ashdown sound. Tonal bedfellows for sure.

I love the band to pieces, but I find this pretty bland. It's very 'singy' and in the style they went to around Stadium Arcadium. I want rapping, slap bass and some funk, damn it! P.s - It seems Anthony has modelled his voice on Hagrid in parts of this song.

Dave is the guy I use! His backlog is the result of this thread! 🤣

Hi all, Can anyone recommend an amp tech in the area? My usual go to is snowed under with work. I need a couple of things looking at within 4 weeks or so (upcoming slew of gigs) . Many thanks in advance!

The distance to the bridge is the measurement that matters? Or have I got that wrong? Judging from the photo, it looks the same as the older Basic model.

The hidden cost of owning that bass - having to MOT it every year!

Ok, so . . . It doesn't squish 'quite' to the levels I was after (to be fair, excessive!) and is very transparent sounding. However, it is very refined and musical for a compressor, with an impressively low noise level. It does punch probably better than any compressor I've used, too. I preferred it to the Wampler Ego I had beforehand, so it's staying!

I will go with all previous points. Very much sounds Ike your overloading the input. Better designed amps will had a pad for basses with hot outputs, usually designated 'passive' and 'active'. Although ironically, as has been stated, my P-Bass is probably the hottest bass I have for output. Turn your gain down!

Bit late to the party here, but when I had a LM2 (which I absolutely loved), I wouldn't go anywhere near those filters. VLE just took all the treble and hi-mid off your sound and the VPF, to me, was just an old fashioned 'scoop' switch. I, personally, found neither of them remotely useful. Having played the Marcus Miller 800w model at a rehearsal room, I found the eq points, much improved. They make much more sense and made the already great MB sound, even better.

Had this for a while actually, but forgot to NBD it! My poor SUB, always being the base for my graphite related tinkering, after having previously had a fretted Status neck and then being returned to its OG neck for a while, I thought it would be time to experiment once more. After wanting to buy a fretless and absolutely loving the tone a fretless ray gets, I'll be ashamed to admit it took me a while to realise that I didn't have to go and buy a whole new Musicman and could just change the neck on my SUB! A fair amount of money later, this was the end result. Now, It might just be the most resonant instrument I've ever had. The whole body and neck vibrate to an incredible level (even the tech who did the work commented, stating it was probably the most resonant instrument he had worked on) and although this might not be everybody's bag, the amount of mwah out of the graphite neck is off the scale - It absolutely *sings* Tonally, with 40-95 Flatwounds, the graphite just adds to that Musicman growl. It's an incredibly pokey instrument with the tone wide open, but roll it back, and there is a lovely, soft, warmth to be had, with total articulation. I'd describe it as a live 'studio' tone. The neck profile is the typical Status (what I'd term) flat 'D'. Narrower front to back than the stock Musicman profile, with stronger 'shoulders' but the same width. I'm not going to say it's better or worse as that sort of thing is totally down to preference. I went for lightweight, black Musicman tuners to set off the whole 'dark' vibe, which had the added result of making the bass a little lighter. Thanks for listening to my mini ramble/review, I'm off to go get my Pino on! *Stomps on OC-5*

Luckily, having a Modulus, I never have to bother adjusting anything

That was the RH series. Not the BH. 800w on the BH series really is 800w. To the OP, I can't even imagine how loud you must be to be maxing out a BH800. The only time I've ever pushed my BH550 to max levels was a huge outdoor gig! And that was ear splitting! I'd also add, I haven't experienced this compression at volume. The thing that impresses me most about my BH550 is the fact it stays composed, neutral and clean all the way up, volume wise.