DGBass

[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.