Woodinblack

£429 is the going price at the moment, so anything less than that is good!

I got a £10 voucher from Thomman for doing a review - does that count?

Sounds very much to me like you are trying to get financial gain by making RIckenbackers seem exclusive and cool by not having one 🤔

No one mentioned great sound, and why would anything blow up??

Yep, loads, all the way back to 2008: https://www.basschat.co.uk/search/?&q=Maruszczyk &search_and_or=and&start_after=1136073600&start_before=1422144000&sortby=relevancy

Never noticed that but haven't really spent much time listening to it, compared to turn it on again. Still, I suppose I can't judge. Everything we play speeds up!

Yes, it always bugged me.

I got a pair of alto TS212s the other day on a local group, after months (years) of dithering of whether I needed something better and if 12s would be enough etc. People will always say you need the yamahas and RCFs etc, and I am sure they are fantastic compared to what I have, but for me, it turns out they are great and better than what we had.. I am sure you can get something better but it was £300 local pickup to me with all leads, stands and padded bags and as I already had a behringer X mixer, I didn't need anything else. My plan was to get a sub at some point, but I can't honestly say I have needed one.

And: Which I think is a pretty good version myself

Sorry - didn't see that, although I don't agree that it has much to do with watts, you can hear it very clearly with a 1W amplifier and a very clear speaker and not hear it with a 500w amp. In fact, probably easier to hear in headphones. But yes, you are more likely to hear it with more power everything else being equal. It can be, I have been lucky in that the tuners in the G&L and Ibanez that I have done are quite large, plus I do it very near to the bend so it will go in ok, but it makes it harder. Actually, it was even harder on the G&L, as that was flatwounds, and I had to do it again, as with the B string strung through the body, it was too much of a bend to get the string over the bridge and it didn't quite make the nut, so I had to take it out and put it through the back. luckily that gave me a bit more room!

I have just started doing that as aparently it stops the risk of dead strings, where the core slips. I can't say I have noticed much of a difference yet but it is easy to do and it logically makes sense, and I have only been doing it for the last 3 sets or so.

Funnily enough, money is the only bad song on dark side for me. But for time signature changes where they are needed, rather than for the sake of it, it has to be Schism by tool

No, I wouldn't be surprised for the early ones that were configured by email. I would imagine they have probably standardised them now as they have the web page configuration tool though.

I just put some rotosounds on my G&L. Never used rotosounds before but I needed a set of 5s and the chromes (that I have on my freless) are expensive. First impressions quite good. Not a huge amount different from other strings so far.

I certainly want to hear another Dingwall at some point, I love the neck of those things, and would love one but I wouldn't want to pay all that money and it to sound like the combustion.

While the initial post / poster was clearly a sales pitch of some sort, subsequent posts have been useful and informative, which is I assumed why it has continued. Obviously there are people on here who do sales but there are also people who cover general owning information. I still like my Maruszczyk even though i have had a couple of quality issues that maybe shouldn't be there. These have been documented here so it is a handy resource looking through so you can get a general view.

I had a buzzing on the string with my Maruszczyk, turns out that on a bass with a flamed maple neck, there isn't a break angle and for some reason mine never got string retainers, so if my string isn't at the bottom of the machinehead it vibrates against the zero fret

I did. I didn't notice any great advantage of the B string over any of my ibanezes really. I liked the neck, it was nice to play but not for any tonal reason I got newtones on a messinger short scale I had (they were the only ones to do short scale 5s that I could find). I found them high tension too. They sounded ok, but it was hard to tell as the bass itself didn't really have a great tone. Fully agree with all of that. And I never really got the 1" of a difference (or 3" in this case) making that much of a difference in the context of string scaling. The barts in the 5005 prestige are completely different compared to the barts in the 505 and those sort of models, like night and day. That was the one thing I wasn't hearing mentioned. Are you sure it is your bass that doesn't have a good tone? The B string in just below 31hz, even at the point that your ears frequency response is dropping off. You need a hell of an amp speaker combo to be able to accurately transfer that to the same level as the higher frequencies - even speakers renowned for good frequency ranges don't do that well, most of the barefaced cabinets for instance say 'useable range' down to 37Hz and they are one of the few manufacturers with non made up specs

Well, still the most ridiculous was working in 1997 for a company using sun workstations. We bought the Y2K packs from sun for 4 workstations. They came couriered from America and each was in a box that was just a bit bigger than an A4 piece of paper and about 15cm high. The reason for this is that on opening, each box contained an A4 piece of paper with an FTP address where we could download the pack and a licence number. I assume the fact they were about £700 each meant they feel they needed to make the effort!

Personally I tend to not touch the controls on a bass, apart from the pickup configuration / balance. Any tone (or volume) changes I tend to do via the footswitches for the amp.

Was the band posting this intentionally to get at the sound engineer, ie, did they know them personally? If they had then it might have been ok for them to say 'well, I am not doing the sound for them, you will have to get someone else to do it, but not sure why that would affect the other bands. If I was the venue owner I would have no problem with that, in fact I would support it, but just not cancelling the whole night.

Well, obviously but by 'don't need one' I mean it doesn't answer any problem I have. It doesn't give me anything over the HX, and frankly not sure that that gives me anything over the B3 in a gigging situation. But that obviously doesn't mean I don't want one, or if it had more buttons I would have already got one!

Why has the time not arisen? are you not gigging at the moment or some other reason you are not gigging with it? I must admit I would like one but don't need one, the FX is good for me as I am only going through an amp anyway rather than the PA and actually I am still using the B3 until I get power sorted (and patches I need done). Must remember to order a power socket!