DGBass

I dabbled with a bi-amp setup some years ago using a Peavey 115 combo for the lows and a BH500 2x10 for the top end with some success using the combos built in x-over. Selecting the crossover frequency was done by twiddling the knob and listening for the best tone. Neither cab was a full range one though...the powerhouse 1x15 has switchable crossover frequencies but i'm not sure if you can disable the horn completely. What kind of setup are you using?

I've owned a lefty tribute L2000 for a few months now and its a fine bass. It's very well put together and comfortable to play. it needed a bit of setting up though and I put this down to their not being a lefty player to set it up at the factory where it was made! I felt quite at home with what is quite a wide neck at the nut end. It was reminiscent of an MM Stingray i once owned and played for years. Sound-wise it has some great tones, i've yet to work out all the combinations. I usually roll off the bass a tad as it has quite a kick when full on.

[quote name='Cosmo Valdemar' timestamp='1370126227' post='2096849'] I'm 6ft 4 and I've given up apologising. I'm sorry but that's just the way it is. [/quote]Same applies to me. Actually I also saw Rush at the SECC in the mid 2000's and there was someone taller than me obscuring the view. When i did get to see the stage, all i recall seeing was Geddy Lee dancing strangely on stage with his now signature Jazz. No Rickestacker was to be seen..anywhere!

I used one at a rock festival in1993..it was the onstage bass amp supplied by the organisers hooked up to an HH 215 cab. I played my Overwater on that occasion and i recall it sounded fine! Big clean transistor amp sound not unlike the Carlsboro Stingrays and HH VS Bass amps of the time. Not many around as i don't think they were that popular.

I have 72 Bassman 50 silverface and it works well with 4ohm loads. I wouldn't run it into any load less than 4 ohms, the output transformer was designed for a 4ohm total(its not switchable). It will happily run with an 8ohm cab at lower volumes. I use it at rehearsal with an Ashdown 6x10 4ohm cab and it is loud. I don't think there will be any problem with your Mesa cab. My amp doesn't have serious grunt, however i use a boss GE-7 to boost the low end and a limiter to keep it all tight. It keeps up with our guitarists Marshall 9050 with two 4x12's attached. The Fender bassman's tend to have a unique character as over the years they will have been re-valved/rebiased had cap jobs and components replaced. it's a very toneful amp, not seriously powerful and will drive a high power 4 ohm cab no problem. An ideal recording amp too

[quote name='Spoombung' timestamp='1362669988' post='2003113'] I don't understand why bass players want deafening amps. You just need it loud enough to compete with the drums - then it goes through the PA. In the old days 100watt was considered more than enough. Now its 500 watts, etc. [/quote] This made me smile I relied on a MkII Marshall Superbass for many years and it was always enough...however it's since been sold and I now own a BH250. I must admit coming from an old skool valve top and 1x15 cab background the BH250 confused me to start with regarding the tone controls as they seem to filter frequencies rather that operate like conventional cut/boost. I had a bit of dialogue with TC who were very helpful with some setup suggestions. It was only after picking up a second hand BC212 that the amp really seemed to come alive tonally. With the spectracomp toneprint, BC212 and an old Peavey BVXBW together, my BH250 sounds immense. I think it's a great little amp, powerful, plenty loud, toneful, lightweight and the Toneprint is a great feature. One thing I've noticed is that the BH250 is so light, it slides about a bit on top of my cabs especially from the big lows the Peavey cab kicks out. It's nothing a bit of gaffa tape won't fix but something to watch for if you like using subs/15's.

This thread brought back a few distant memories of a visit to Overwater Guitars in the early 1980's. In particular, the post about Rob Clements from Lindisfarne reminded me of one of the finished basses that Chris May showed me that was a customer order for Rob. It was a dark coloured original series fretless with a bound ebony neck and custom inlays. I'm sure it was also a non standard tuning for a four string( low B or C) and the bass was built with this in mind. The reason for my visit was to order my own Overwater which I have owned ever since and still play. It doesn't get gigged anymore but is used for recording and home playing. It's a leftie twin pickup passive configuration with a five position pickup selector and Kent Armstrong pickups. It was designed so that i could easily upgrade to the active electronics offered at the time, but it sounded so fantastic i never did go back to do this. it's mahogany with a tiger maple top, ebony fingerboard and matching headstock. The hardware is all schaller chrome. Even now it keeps perfect tune, and I cant imagine ever parting with it.