NickA

https://cardiffviolins.co.uk/ Don't do basses tho. I reckon the shop's too small! They might do an insurance valuation, then x by 0.75 to get what it might sell for. Might have to go to a dealer ( eg Thwaites ) for sale on commission. Private sales are sloooow. Or ... Possibly.... my dad got a valuation for his cello by sending photos to Bromptons ( the auction house). We thought it was massively ott, but then showing the cello to dealers after he died, Bromptons were very close. But with cellos an expert will be able to say " oh that's an early Kennedy / Colin Mezin / Forster etc" from pictures. Basses are more obscure I think, unless you're holding something very valuable and identifiable. NB: my bass is also 1890s German. Viol shape and 4/4. Valued £10k because the valuer said "you don't get anything decent for under £10k now" and I like mine more than the £10k basses in his shop. But it wouldn't sell for that in a private sale.

For me the point of active is not the eq. The amp can mostly do that. The point is getting the best out your pickups and being able to use pickups with a low output and flat frequency response ( things that are related) Having said which, my Warwick has bass and treble cut and boost that seem very well matched to the bass in a way my amp can't manage. In that respect, you can choose a greatly tweakable amp ( my old trace gp12smx ) or a tweakable bass and a neutral "hifi" amp ( my pjb ) As for why anyone needs anything beyond a passive squire precision.... horses for courses. Holding down a pop/rock/blues band, yes indeed. Playing jazz solos and even simple bass lines whilst getting a tone you like and still being audible above saxes, trumpets etc.... is why there are Alembics, Wals, Skjolds etc. I read that Pino Palladio had given up on boutique basses in favour of a precision. Apparently he wanted (audiences) to concentrate on the notes not the sound of the notes. If I could play his notes, I might agree.

Especially after my failed attempts to mend it 😂😂. I've a carbon one on my cello; it's super stiff and light and, I think, improves the tone ( tho that may be the £100+ I spent on it speaking).

The Wal individually sums all the coils of each pickup then filters each pickup then sums the filter outputs using an op-amp mixer. The jazzbass-alike has the east electronics which also buffers and then mixes the two pickups ( it has a total of 8 knobs!). Not sure what the Warwick does, but the pickups are active ( IE there's a buffer amp in each of the three pickups) so still no current drawn from them.

Active. Stops the pickups / coils being loaded by eachother, by the capacitance of long cables and by low input impedance amps and effects...which makes for a wider frequency response. reduces noise pickup as the basses output impedance is low. Also it allows a separate EQ on each pickup ( if you have a Wal, alembic series or east acg-eq-01 electronics) which is something you can't do on the amp. Still, there's an appealing simplicity to a passive bass and parallel pickups ( eg a jazz bass) have a particular sound due to that mutual pickup loading. My bitsa jazz bass is very active at the moment ( acg-eq-01 ) but may go passive again when I tire of it.

I've one of these: https://www.ebay.co.uk/itm/152659424030?chn=ps&_ul=GB&mkevt=1&mkcid=28&google_free_listing_action=view_item But on carpets and that rubbery stuff they put on stages, I just go with the pointy bit. The rubber end that came with the end pin does prevent people cutting through the bass section at tea break from being speared in the legs.

Saw off the pointy end and most of the rod, then push the rest into the bass, then extract through the f-holes. Does the rubber stopper stay put? My experience of rubber tips is that they slide about and wear through. Gone back to a sharp pointy end.

What was the wood? Broom handle?

Indeed. Mine goes up for bowing at orchestra and down for pizz with the jazz people. I know it's not ideal as there is an optimum bridge height for the best tone regardless of type of music... but I like the warm muzzy sound you can get with an action that's a bit to low for orchestral bowing. Btw...Bass bags is good for mid priced new instruments (£1500 to £7500) they rarely ever have old basses in stock, but what they have are all well set up with good strings and ready to play. No nasty surprises! No bargains either. And I find even the best Chinese basses a bit short on character (eg this, which I had a play on, is rather nice, but also a little dull https://www.bassbags.co.uk/product/eastman-vb503-jonathan-li-double-bass/) . Trip to Hastings 👍

OK! ... Just that it's posted in the EUB and DB section 🙂 We 40"+ scale people generally go for characterless and neutral ... which I guess a 1980s marshall is not.

You'll just need to take Joe's sound engineer and bank of sound processing with you. 😉

For double bass? How's it sound? Impressive number of knobs regardless.

Correction ...It was a @gypsyjazzer thread ... But @anon who was bigging up rumbles. They're ok. All these new class D amps are "ok". But MB are very good, doubt one of the smaller rumbles will beat it. A 2x10" MB might be what you need. My own double bass rig is 10x 5" ( replacing a 1x 15") so I understand your desire for smaller punchier speakers 😂

Indeed. Many things are rare simply because they aren't any good...ie no-one wanted one.

Hmm didn't sell at £8.5k a year ago and now has the bass direct markup. But that for sale post explains things. The not-a-pickup-cover is somewhere to stuff some foam ( no-one having invented floating thumb in 1962 😉 ). Very vintage ( it's as old as me!) and very rare. Not to my taste is all.