molan

I had an immaculate '67 B15 for a couple of years. Sounded lovely but not really useable for anything other than home practice or recording. It now resides in a studio where it belongs I did get to try one of the new, top of range, models once but only for about 5 minutes before I got hustled off by Darryl Jones, lol. It was a thing of great beauty but I couldn't really tell how different it sounded from my original.

I've owned three (I think). Always loved them but just too heavy for me. Sound great with a DB410 - but I can't lift those either any more!

Plenty of speakon to jack connectors out there these days. Some speakon amp sockets will accept jack cables as well but I can't remember exactly which ones off the top of my head

[quote name='Chienmortbb' timestamp='1471904100' post='3116931'] I have been offered it for £80. Couldvprobsmly get it for £70. [/quote] Sounds about right, Last one I saw was £75. Just make sure you give it a really good check over to be sure everything is working first.

They've been around for ages. Nice little amps but don't go very loud, nothing like some of the 'modern' small combos. Not giggable on its own unless you're in a small jazz type band. Can work well with double bass but still relatively low volume. They often pop up very cheaply on the used market but be sure to check them over first as some of them have a habit of blowing the power amp section if pushed hard.

I've seen him in a 'backing band' for Bootsy and he was a complete funk God He's also a genuinely nice bloke, once asked me very politely if he could have a go on one of my basses, lol.

Guitarist in my band did something similar with his Epiphone Les Paul. It was a very pretty flame top model but never quite had the tone of a really classy LP. We got our luthier to fit some Fat Boy pickups, all the pots, caps & switches etc were replaced with 'proper' high quality ones and it totally transformed it. Sounds amazing now and better than many Gibsons I've heard I love it when this sort of stuff comes together!

[quote name='sifi2112' timestamp='1471802014' post='3116004'] Cheers Molan .... the AC combo is top of my list, so do I wait for a 2nd hand one or bite the bullet & order new lol [/quote] There are some deals on these if you hunt around enough. Prices rose a while ago after the £ first started dipping but some people snapped a few up before the price rises went through

Personally I find the TC heads complete tone suckers. The RH450 in particular is possibly the worst amp I've ever had the misfortune to use live. The 750 is an improvement but there are so many better made and, more importantly, more reliable heads out there.

The Alain Caron is a beast! Full 500w into the 1x12 and another 300w just for the horn It goes very loud without any need for an extension cab. Plenty of clarity from the horn but you can use the filters to warm things up if that's what's needed for certain songs or gigs. I'd take one ahead of the Jeff Berlin every time!

I had one of those gold ones for a while. It was truly horrible. . .

GK MB200 is just a killer little amp. I currently have a string of amps sitting at home but the little MB200 goes with me to every gig. It's tiny, sounds great, definitely feels much louder than the 200w it's supposed to have and has enough features to cover a lot of gigs. It's not my main gigging amp but it always comes along for the ride just in case my main amp goes down.

I got a very dodgy body from them once with a nasty ding in it. Took ages, and a lot of stroppy messages, to get compensation

One new G string when first fitting and tuning it.

[quote name='Sibob' timestamp='1471532275' post='3113754'] How did they differ? Just in setup? Si [/quote]. They feel like completely different basses. US models are very well made, lovely necks, perfect fretting and I've not heard one that didn't Sound really nice. Far eastern ones have that classic 'mass produced' feel to them. Fine instruments in the main but lacking that touch of class the US ones have.

I've owned a few big heavy amps, especially loved my early SVTII non-pro but simply too much to carry. I'm now using a Jule Monique Dove Cage - gives me as close as I can get to a classic valve tone but, by pairing with a lighter weight power amp, it's easily transportable Of course, part of the joy of the classic valve head was the hefty power stage so that's missing but the Jule really is something else and makes me smile every time I turn it on!

It's a fair bit more expensive shipping from Canada than USA. I've bought both personal and company basses in from a few different places there and it's always a higher price that any US shipping. At the shop we always had to buy instruments in pairs to amortise costs.

Is that what you chose to keep in the end Karl? I lose track of your gear at times

That's me with P basses - I keep buying them only to remember why I don't really get on with them! I think I have three at the moment and only one of them ever gets played (a Lull)

Definitely agree about the Streamliner. Never managed to get a tone from one that I've liked (although there's plenty of them out there so some people must like that woofly sound). S112's are excellent gigging cabs. I say this all the time but there are some brands that sound good/ok when heard solo at home or in a store but don't work as well in a live gigging situation. TKS is one of those brands that just 'work' out on a gig really well. I seem to remember Tommy saying that they were developed with a lot of help from working players and I'm sure that helped. Definitely the way to go, far better than looking at frequency curves and output levels etc

I think there's a discernible difference between compressors and octavers that sound good solo'd and in a quiet environment and using them live. For live work I use the two Aguilar units. I often have to fine tune an Octaver live for room/stage dynamics and some compressors can sound a bit too much solo but work better live. Both the Aggie units are easy to work with live and sound great. They might not be the absolute best things out there individually but in a live gigging environment they are tough to beat.

There's very little info on the pre amp that I've seen but pretty sure it has a pair of ecc83 valves in there. I saw some stuff from NAMM in January that very much positioned it as a 'rock' amp and using the drive control to generate valve distortion. Very different to the Demeter which isn't at all designed to distort.