Mr. Foxen

They mislabelled that guy's back.

Soldering fresh shiny copper tape is so nice and easy its actually fun.

If you can get it refurbed, then mention this as an option when you sell, for additional cost, emans the buyer has the choice, and you only need to put in the effort if necessary.

I think 40 was the recommended.

Generally dual amping will give you a bassist and guitarist at once sort of sound, which is more suited to single guitar bands. A Boss LS2 pedal is the easy solution to mixing up wet and dry signals, you can balance them with the control knobs. Thing is, in the place where the signals over lap, you can get a whole mess of phase fun that notches your signal weirdly, best keeping stuff fairly separated, a really thin trebly tone and a ill defined muddy tone tend to combine better than two sounding ok independently ones.

Max mids, min bass and treble is roughly flat. The impedance setting just affects where the limiter kicks in so unless you are pushing the full 500w it makes not much odds, and 500w is goign to melt most cabs. Watts are pretty meaningless to volume from the amp, if you were hearing breakup from something other than the preamp section, which is unlikely with the stock valves in the Bass Terror, then it would be the speakers in the cab.

[quote name='Prime_BASS' timestamp='1359287513' post='1952422'] a tube power section doesn't do much of anything special that a class D doesn't. With a tube power section the impendence has to match exactly to get the most out of it, with a class D it's not so important. The 'juice' of a valve power amp only makes a difference once yo start pushing as the power valves start to naturally compress the signal. IMO a class D power amp is a lot better in many ways that even today's valve power sections. [/quote] That isn't true at all. The very stuff you mention is part of what class D doesn't do, and pushing the power section doesn't necessarily mean massive volume, they are fairly bandwidth limited which means real lows can produce harmonics, which gives the impression of massive low end without much power or straining speakers. Also valve power sections couple with valve preamps much better, down to the same impedance issues as the output stage. Plus all the compression and bandwidth limiting you get from a valve amp is more natural than the limiting built into the Orange bass Terror (which the 4/8 ohm switch changes).

Korean made Epiphones, before they went to China and got a bit worse.

Cab is a more significant limiting factor than head, but if you have a PA, with subs, you don't need much at all, just something for a monitor. Much more weight to be saved in the cab than the head too, heavy good sounding heads can be picked up cheaply (Peavey), but small cab light cab is usually more expensive prospect. Are you keeping the rig, or is it just for the shows? A Barefaced Midget and whatever head should probably sort you, and Barefaced cabs move on very easily, and you don't have to lose much on the s/h price due to wait time from new.

http://basschat.co.uk/topic/134417-what-are-really-unfashionable-at-the-moment/ Unfashionable at the moment means future collectible.

[quote name='winterfire666' timestamp='1359221258' post='1951850'] that makes perfect sense but then why are there loads of p/j basses about and p/p's semm to be fairly rare? [/quote] See how many people aren't satisfied with their gear, an sell it and buy more stuff, then sell it. But you don't see many s/h dual P basses.

[quote name='BigRedX' timestamp='1359213830' post='1951685'] so why can't manufacturers with the wealth of experience and historical examples available to them get it right now? [/quote] Bet its hand shaped/sanded, so labour costs. I blame the unions.

Dual P, because putting a lower output pickup in a lower output position never made any sense.

Tried asking TC Electronic first?

[quote name='TommyK' timestamp='1359105940' post='1949841'] I have a BF Super 15 and I no longer have Cab GAS. 100% cured (no really, it is!) Sounds perfect, very loud, looks good and I can carry it, what can be improved?? [/quote] I thought that when I got mine. But then I got two.

Means people need to rush to buy it before it goes up even more.

[quote name='Ghost_Bass' timestamp='1359117536' post='1950103'] But even the Walter Woods add some vibe to the bass sound, it's voiced to be very balanced and clean sounding in the entire freq spectrum. Any kind of amp will always add something to the sound, the bass player will choose the one that suits him/her better. [/quote] If the amp has more of its own voice than a studio amplifier, then it isn't as transparent as a studio amplifier, thus inferior if transparency is the goal. The mere presence of eq knobs is intended to produce distortion of frequency response by choice. Not that my personal preferences have any relevance to those facts, but I like valve amps, but don't much care for the sound of valves 'breaking in', I like valve amps not distorting, hence my headroom modifications and suchlike, I'm more into the fact I can make such modifications, and the inherent compression and bandwidth limiting gives me very broad dynamic options without risking damage to my equipment, and if there is any damage, I can fix it.

[quote name='Ghost_Bass' timestamp='1359116067' post='1950084'] You're absolutely right and some bassplayers do look for a change of tone in a amp (valve saturation) for an intended sound but the OP asked for uncompromised tone and i read that as keeping the best possible tone from the bass (fully transparent or not) and in that field Mr Woods is building the most amazing sounding amps (and they're pretty light too!). [/quote] That's pretty much an ignore the amp situation then, anything called a 'bass amp' will be adding its own colour, so get the sound of the bass right first, through studio gear. Then get a studio type preamp, and a power amp, which leaves the speaker to be the biggest source of colour, transparent amplification isn't uncommon if you look in the right place (basically, not amps for instruments).

[quote name='Ghost_Bass' timestamp='1359109801' post='1949927'] Well, after 3 pages i still havent read a single reply that answers to the main question (c'mon, we all know that a SVT changes the tone, and a lot! add a 810 to it and it won't matker if you're using a sadowsky or a squier affinity!). So here's my answer, for best amp with uncompromised tone i have to say definetly Walter Woods, perfect in any aspect. If i had the money i would own one but i have to settle for the closest i can find i that is the Thunderfunk, great clean tone! [/quote] Thing is, with transparent amps, you don't notice the amp, is kind of the point, so people go 'that bass sounds nice' instead. Or in most cases 'that bassist sounds dreadful' because transparent amps are pretty brutally revealing of playing flaws, hence popularity of Ampeg.

Turns out the dude who bought one of my 200w PAs is using a pair for his home stereo.

[quote name='Subthumper' timestamp='1359074712' post='1949676'] They are bloody heavy though no worse than any other 200w valve head I can think of, and certainly less heavy than an SVT. [/quote] Thing is, they are a 160w amp, maybe 165. Don't run the KT88s hard enough, so they can get away with cheapies.

TBH, I'd rather buy a cheaper amp not serviced and send it to a tech I trust (like Subthumper) than trust what some people seem to regard as 'serviced', which generally means 'nice vintage valves stolen, and replaced with cheapies' much too often. I at least steal the vintage caps and replace them too.

[quote name='molan' timestamp='1359067523' post='1949546'] 1960's Ampeg B15N - the amp used on more amazing studio recordings than anything else? [/quote] I reckon straight to the desk beats it.