shizznit

Came close to buying a second hand 5 string version of this model a while back. These are great basses. Great acquisition!

My EA iAmp 500 is the cleanest amp I have ever played through and really brings out the natural tone of your instrument with very little tweaking

I know there has been a few that have already commented on how goof that Warwick Star sounded, but god damn! GAS!!!!!

I like it, but I would also like to see Fender work on something a bit more modern. Something that can go head to head with the G&L ASAT

I had a SansAmp BDDI years ago and I never left home without it. Performs really well live and in the studio. Mine broke and never replaced it, but I strongly recommend them to any player looking for great instant tone.

Yup...watching it too!!

Some great suggestions to which of most I agree, but try an Overwater Progress III. The low B on the one I had was incredibly well balanced and clear.

[quote name='Mr. Foxen' timestamp='1343901968' post='1756966'] This is the amps and cabs forum, the point of an amp and cab is to disperse sound coming from your bass into the wider world, so how good something is at doing it is kind of important. The effects forum is better placed for stuff used just to change the sound coming from a bass. [/quote] Not disputing that at all and I do agree with you. This is an open forum and folks have the freedom to talk about whatever they like. God bless you all! But, I am stepping out of this one and popping down to the pub!

[quote name='attackbass' timestamp='1343816873' post='1755571'] Is this the Kosher that Mo from Mo's music shop played in? I remember the name and bought a bunch of Hartke stuff from him 12 years ago! Was such a good shop! [/quote] Yup! When the band got signed he had to spend a lot of time away from the business over a 4yr period whilst touring and it suffered as a result. When the band split and he returned back his business full time he really struggled to restore it to its former glory. Now it's gone and it's such a shame. It was a cracking shop with a lot of very tasty vintage kit. He also sold me a shed load of Hartke stuff when I joined the band! Great kit, but 2yrs later I got the Carlsbro deal.

[quote name='JTUK' timestamp='1343899741' post='1756911'] Lol. Post of the thread...!!! Some posts here speaks volumes tho...... Very illuminating, and no, I am not talking about the 'science'. Lol lol lol [/quote] What amazes me is that there is now 10 pages of posts about 'speaker dispertion'. Geez...c'mon!?!?

[quote name='Shockwave' timestamp='1343897736' post='1756873'] I have a Vintage handmade Thumb NT5 for £1200 if your interested [/quote] I would seriously consider that! The NT's do sound a bit different to the BO's (a bit beefier in the lows and a bit more sparkly in the upper registers), but at that price you are onto a winner! The earlier NT Thumbs are sublime. Throw in some Bart pickups and an EMG preamp like did with mine and you will have a friend for life!

You see, these types of conversations make me zone out. As bass players we deal and battle with the law of physics every time we plug in and we can't change those laws. It's important to be happy with whats going on behind you, but there are more important things you must concern yourself with during a performance. Chill!! Llife's too short!

Item sold - EBS TD650 Very easy transaction, great communications throughout the deal and the amp was delivered and better packed than King Tut! I'm a very chuffed buyer! Good guy...buy and sell with confidence with this BC member. Cheers Patch!

Dispersion is only a problem if you need your backline to fill a venue if you are not going through the FOH. That happens with any type of cab no matter how powerful, how large the speakers are or how many you have.

I have always used 410's and 210's for small gigs. I much prefer clarity and punch over boom and saturation. Plus, the power you can get from a 410 is amazing. If you get a front ported 410 that actually delivers a fair amount of low end. Oh, and if you blow a speaker you still have three more on the go without too much dip in volume. The only downside about 410's is the weight. They can tend to be quite heavy.

[quote name='TomRichards' timestamp='1343753023' post='1754665'] Now I'm done, for sure. On to bigger and better things, like getting some Brubaker basses in the UK! [/quote] Now that I can't wait for! I have a couple of friends Stateside that swear by them and I am sure the Brutes would take off very well over here. Keep us up to date with any news about that if it happens!

No no no no

[quote name='dood' timestamp='1343748734' post='1754583'] Yeah, an over reaction! lol - There's a few BRILLIANT signatures on BC actually that have raised a smile with reference to being endorsed! Hmmm what would mine be? I'd choose.. the two best products: 'Gaffer tape if it moves, WD40 if it doesn't' ;o) [/quote] Hehehe!!!

Headphone out from my EBS Reidmar amp sounds awesome. When I am practicing to music I run the amps DI or line out to my A/D converter and use a pair of headphones through my monitor mixer from the Mac

When I played for Kosher 12yrs ago both myself and the guitar player were sponsored by guitar and amp manufacturers. The deal I had with Warwick was very simple. It was a basic artist sponsorship deal whereby I had a discount on their basses and all I had to do in return was to give to mention them in credit in any PR literature, wear their merch clothing and be seen using their basses. It was not an endorsement deal and I still had to buy their basses at trade price. But, it was a great help back then as my puny advance didn't stretch very far. I was disappointed when Warwick pulled he plug on me after a distribution restructure in the UK and I was then deemed not to be a big enough name to carry the brand. The deal I had with Carlsbro was very different. Our guitar player helped to design and develop the NuTone guitar amps and was their main endorsee. The guys at Carlsbro really liked what we were doing and asked me to become an endorsee too. Both Mike and I agreed to an exclusive endorsee deal which is very different to a sponsorship deal. Our amps were provided to us FOC, but in return our responsibilities were a bit more intensive. We had to perform demos and workshops and trade shows, take part in PR duties for the brand, help out with R&D and of course use the brand at any given opportunity. I gues you could say that we were static sales reps for Carlsbro. We developed a very good relationship with both the management team and the guys at the factory and it all worked out very well. I will always be great full for the support that Andy Bishop and his team gave us. The legalities between what are sponsorship or endorsee deals are very different. With a sponsorship deal the artist is treated as a customer and retail law is applied. An endorsee deal is different if the artist has their gear provided FOC or actually receiving an income from the company along with any contractual obligations agreed. If so, then corporate law is applied. If a product is sold to the artist as a part of a sponsorship deal, no matter how much of a discount has been given to that person they are still a customer and they have no legal commitment to that brand as a consumer. No matter what has been agreed in black and white it is still very much a gentlemans agreement. It's very much a case of scratch my back and I'll scratch yours. The level of where that takes the company and artist is completely down to them. In any situation the deal should still be treated with respect between both parties purely on moral grounds. Endorsement deals are very different as they are often a bigger financial commitment by the company and you have more responsibilities as an artist to uphold your contractual agreement. As I said before during my experience with Carlsbro, Mike and I were very much like static sales reps and we had to uphold commitments in our contracts to keep the deal. If we didn't, Carlsbro were legally entitled to return the kit they provided to us as it was their form of payment to us. It wasn't our intention to take the mick with them as we would have been left high and dry without any backline. Musician endorsements don't really work the same way as a sports person endorsement as they usually get payments to use their brand. That is a completely different realm as far as corporate law is concerned. I know of not one musician who recieves a monetary income from a manufacturer, unless they are actually an employee of that company. So, court action rarely happens between an artist and brand. But, in any instance of a grievience the company has more clout than the artist. I fully understand and appreciate where Tom is coming from. Even though Brubaker is a highly respected brand in the bass playing world they are a small company and brand recognition is a very important. Artist sponsorships are a huge part of that when it comes to exposure. A lot of trust is given to the artist to ensure that they adhere to the terms that has been agreed. Remember, it costs the company to sponsor you...they are not doing it just for fun. These guys are as every bit as passionate about what they do as what you do and they only want the best for their customers and artists. They support you as they feel that you equally represent their passions and help the profile of the brand. Respect the priviliidge that they have given to you and don't abuse their trust. If you want sponsorships to boost your ego or feel that because you think are so awesome the world owes you a living then you don't deserve the support. Don't let it get you down Tom. There are plenty of other players out there that would be proud to be a part of your brand and wear the badge with pride.

I added this auction to my watch list on the weekend. I am incredibly tempted to go for it.

I stopped using wireless kits years ago as I fruitlessly spent a lot of money looking for 'the one'. A system that didn't degrade and squish my tone. I haven't tried a Line 6 Relay system yet, but I know a couple of players that swear by them. Those praises are backed up by some BC'ers on this tread, so they must be the mutts nuts. I have been so used to being hard wired for the past few years I don't think I would ever go back to using wireless again, but if duty calls then I would definitely take a look at the Line 6 kit.

Good question. I have a good idea of what I am aiming for according to the style of music I am playing. But I like two different type of tones. Bernard Edwards is a huge influence of mine and I love that tight, bubbly and warm tone he had. I also love Marcus Millers tone and I use that really nice hi-fi scooped tone. Two very different types of tones and I try to use them as much as I can because they suit my playing style very well. I'm quite fortunate that most of the music that I work on at the moment lends itself very well to those bass tones. Not everyone's taste, but it works for me and has done for years. But, when I have to switch to a rock tone, folk, blues or whatever I have a pretty good idea what to dial into the amp or what type of bass to use.

I love this quote... "This strat is based on an Encore model..." It is a bloody ENCORE you pillock!!!