mcnach

True, but whatever they cost new years ago means nothing today. Second hand value will be determined by how desirable they are and what the alternatives are. I've owned 3 active SUBs, a 5-string that cost me £350, a 4-string that I paid £375 for, and the one I kept which cost me £415 about 4-5 years ago. When you look at what instruments £450 get you new these days... a SUB looks like a very good proposition to me. With the new Stingrays costing around £1800, it's only natural that the used ones are going to go up in price, and I imagine the SUBs will follow.

Indeed... but if you do that and find it too scooped, it would make sense to try another setting instead of saying "nah, it doesn't work"

It's only 'naturally' scooped if you want it to be. A pickup placed at the Stingray spot (even if wired in parallel) is hardly lacking mids... I love my mids and that's how I arrived to the Stingray, which I use most of the time. Just like those complaining the Jazz is too scooped... that's only true if you use both pickups on full and only with certain combinations of pickup heights setup and strings...

If you don't find it interesting, guys, feel free to move along and leave this for those who do find it interesting. Thanks. It's getting tedious now with some of you.

I only did a brief test. It felt like the low end got a bit 'bigger'... but I like the vertical stacks generally and that's what I go for always. A handful of times I had to stack them horizontally due to unstable 'stages' (some of the places I play... ) and I was happy too, but I can't tell you exactly how the vertical configuration sounded in those cases. Also, those were invariably outdoor gigs, so that means no issue with boomy stages or reflections you get in small rooms... A single cab vertical (port firing downwards) has a noticeable tighter low end, when tested in a room... so I imagine that's what I hear in the vertical vs horizontal stack too.

If it sounds good... I don't care what wood the body is made of. My favourite Jazz bass has a plywood body, as it turns out. Considering that the purpose of the body on an electric instrument is largely structural (you need to mount the bridge and pickups somewhere)... I find it difficult to believe that one material is inherently better or worse than other. We get too precious at times about certain woods being used, when the truth is those woods were traditionally used simply because they were easily obtained and at a reasonable price, nothing else.

Still loving it...

Yes, the bag is only good as a dust cover, really.

Stingray and Telecaster only do one thing? !!!!!!!!!! sure thing... love it!

It would definitely be a clue to me but... the bottomline is they're the customers, and you an employee of sorts.

Very good point. Some bar bands arrive at a bar as if they were the stars of the evening. That attitude is not helping them, or indeed other bands. Most of those people may not be there *to see you* particularly, and even if they're a bit dim at times, it's them who spend money at the bar which in turn pays you.

THIS I got mine from him, really happy with them. Sturdy.

No reasonable amp will be able to cope with an outdoor gig the size you're implying. The improvements you suggest will be louder but not significantly louder for a situation like this... I'd keep the present gear, and not play those gigs... or be happy with the fact that only the first row will get you. The drummer goes acoustically too, I guess... so no point getting going much louder than he is.

but what kind are you after? Stingray, Sterling, Bongo, Caprice... single humbucker? two? humbucker and single?

I had a 2003 Corvette and a 2005 Corvette $$ and both were superb... but the necks had an unusually clubby profile (and I like chunky necks) which is the only reason I sold the $$. I'd enquire about the neck profile on the 2006 one you've seen, as chances are they were still using the clubby necks and you might not like them.

I never use F&F unless I know the recipient. Things can happen. I've sometimes just paid extra to cover for the Paypal fees, when a seller insists on no paying fees. No use to you now, of course... but worth thinking about in the future.

The way I see it, the seller is responsible, as he dictates price and sorts postage. He should take insurance. It would be another matter if you had told him his shipping charge was too dear and he offered you a lower no-insurance rate... but if you didn't specifically negotiate a lower rate that way... it's on the seller. He should take it up with his shipping company, it's not your problem quite frankly.

Oh, nice! Thank you!

In Edinburgh that's a very good option indeed. Great work, nice guy, and local.

I had a replacement one for my first Jake... from Maruszczyk. But it wasn't particularly cheap either, so if they don't reply, you might as well use another company in the UK that do custom scratchplates. I used SIMS a couple of times and they both did a good job and communicated promptly and nicely.

do it do it do it do it do it do it I love mine

Ah, no, :D I use a variety of rehearsal rooms all over the place with different bands. I may not love most of them, but they all work... The Hartke was very disappointing. I think the only worst combo I've tried locally is a Trace Elliot combo, a 210, at the Groove Tunnel... ugh... although I know that one it's just probably just been badly abused.

I had an A100 combo, one of the tilt-back capable ones, with a 15" speaker, and it was pretty cool. The HD150 however felt underpowered and the minute you push it a bit it sounded pretty bad.

I played through one of these combos at a rehearsal studio this evening... What a terribly boring, insipid and disappointing amplifier this turned out to be. That's all.