Al Krow

Hi Philippe, To help us in giving you sensible recommendations could you let us know: Are you using the combo for home use only or with a band? Do you have a particular budget cap in mind e.g. the Tecamp 112 (now replaced by the Eich 112) is a lot more expensive than the Fender Rumble 100? Are you happy to buy used? If so, your budget will stretch a lot further (although you will likely need to persuade the seller to courier overseas, if you are buying from the UK)?

In my case definitely a conscious decision. Playing bass is my passion as I'm guessing it is for everyone on this forum. Basses are lovely instruments to own and to play. In terms of where my money is spent I can think of far worse things than spending on my main hobby / passion. I largely buy used and in vgc these days (only two / 10 of my current herd were bought new) and I find that, provided I look after them, they hold their value. Each one of mine brings something a little different to the party. Oh and I've got 10 (one addition to the herd, as of yesterday ) 4 Yamahas (BB425, BB1025, BB735A, BBNE2) 3 Ibanez (SR1825, SRF705, SR1206) 3 'Other' (Stagg EUB, Schecter Stiletto 8, Squier Bass VI)

Yeh - I'm sorely tempted. At just £116 on Amazon new (i.e. the same cost as many used dedicated single use bass pedals) I'm struggling to find a reason not to! Seems to work really well when triggered with a drum machine via midi - you've got access to your son's Volca Beats and I've got an Alesis SR-18 both of which should do the job just fine. I thought the following was a really good review (warts and all) for anyone interested, although it was apparently recorded nearly 100 years in the future in 2103 - haha! Also seems a really good way to get to grips with basic synth functions. Suspect I will be pulling the trigger very shortly!

You tried raising the pup height on your Ray so that it's closer to the strings? If not, could make quite a difference.

For almost exactly the same price as the EHX Bass Mono Synth, this looks like a LOT more fun

I was about to say +1 to what Steve is bringing to the party but probably an uglier version, in my case, which does literally make everyone else look good. But he's just deleted his post! Lol! Guess I'll need to come up with something original then. Oh wait no need...I'm in a covers band.

The B string on the Yammy BB735A seems to be just fine / sounds good; no issues or complaints from me on that score (or really any other at this stage! ). To be fair, I've never quite understood folks complaints about B strings. If the neck length is decent and the fretboard 34" or 35" and you've got solid tuners and no fret buzz, then if the B string feels 'floppy' I'd simply suggest getting a different B string! I guess there might be an issue around the pups and EQ, but we all know that Yammy do a damn fine job on that score for the money.

3 Whites

I have to agree with you. I was going to try to hold out in getting a a BB 735A until they made them available in white (in my case). And I would totally pay extra if they made them neck through like the older BB 1200 / 1200S models! But then one came up used for a good price with very few 'miles on the clock' and I couldn't resist! Two weeks in and I'm very glad I didn't try to put off buying; it's an excellent bass. I'll just need to get a colourful hand bag as a fashion accessory I guess...

No question the colours are limited on the 734/5. The tonal range is anything but, however! I guess it depends whether you're primarily buying your bass as a fashion accessory or to sound great? Each to their own of course 😂

Interesting, so visually little difference from the front. But both design features could be considered an improvement in the later model i.e. laminated neck = greater strength and string through arguably better than bridge for even string tension. Very little difference in price between the 414s and 424s these days.

@AndyTravis et al Just had a mate ask me if the bass he was looking at was a BB414. Looked like it to me. But visually and construction wise what are the key differences between the 414 and the 424?

I got my BB1025 new (end of line) from the Yammy store in London for £550 when most places had been selling them for £675 😛

I'm pretty sure that pretty much all the UK bass players on this thread will have got their Yammy BBs from UK suppliers (or Thomann UK) when they have bought new.

Hah! Just realised you were referring to the lack of position markers on the Yammy BB734/5A EQ knobs. The Ibby is much more considerate:

While I'm collating quality posts on compression in one place, I note that even @51m0n's excellent two posts above states that "all overdrives and distortions and fuzzes are also compressors, just totally not transparent ones." It would be good to add the (heartfelt!) clarification from @Jus Lukin which he very recently posted on another thread: Overdrive & valve amp and 'compression' I know I'll regret saying it, but to all those comments about overdrive and valve amps 'compressing' (not just in this thread, but everywhere for years), this is another misunderstanding which has been repeated until it sounds true. Valve amps and drive/distortion clip the signal, conpression turns it down. Before audible breakup, they sound similar. Draw a graph or look at a wave form and they look similar. They are, however, different actions, and compression has much more control over how the volume gain is reduced and when. It IS pedantic to point it out, and I've sworn off these kind of topics for exactly the same reason I may never mention this again, but the fact is that clipping and compression, while sharing some similarities, are almost, paradoxically, also diametrically opposed in what they actually are. The same misinformation is trotted out so often that I think it is worth pointing out, not least so that proper use of compression gets a little more consideration by those who may be interested to dip into it. Another way to look at it could be that they both reduce dynamic range. In that regard they are the same. However, clipping, intentional or otherwise, in the simplest terms will be finding the limit of a particular component or circuit, and putting in more signal than it can deal with, hence anything at or past the limit is just not produced with any gain. Looking at the wave form it appears the sound changes shape, and therefore takes on a different timbre. This why fuzz is often used to replicate synth sounds- the wave has been turned quite 'square'. Compression however, only ever turns the volume of the whole signal up or down. To understand them in their most basic sense, they were designed to stop mix engineers having to ride the fader to keep a very dynamic track from bobbing in and out of the mix or to avoid unwanted clipping where a loud bit would hit physical limits and get a bit square. With compression, the wave stays the same shape, but is at different volumes at different times. We can see this in the need for a release control- at the threshold, the volume is reduced so that the signal is not so loud, but if it is not turned back up, the signal below threshold will stay quiet. The comp needs to turn that volume back up, unlike a fuzz, which simply gets less dirty as it becomes less saturated with signal. Valve amps blur the lines as they behave differently to a fuzz, but the fact that they can sound cleanish in that hinterland at the point of saturation belies the fact that they are still clipping- just really nice and smoothly. As I said, the graphs don't help as they can look very similar, too. But while you could draw the dynamic action of a fuzz and limiter in the exact same way, the difference is that the fuzz can't get any louder at the threshold, so changes the shape of the wave as more signal is shoved in. The limiter turns the volume down so that it doesn't cross the threshold, then turns it back up as it falls away.

Ah good to know, Chris. Some dude has just posted on how amazing it is on the low fundamentals thread!

How exciting - look forward to it! (I may be about to take my plunge on my first Bass VI tomorrow, hence my asking, but that's definitely an 'off topic' for this thread )

Not a sub woofer, but this former 128 lb monster could produce 33Hz at - 3dB. Impressive, right? LF Drivers: 4 x 10” Cast Speakers Voice Coil: 2.5” Magnet Weight: 56 oz HF Driver: Horn/Driver Voice Coil: 1” Magnet Weight: 8 oz RMS Power Handling: 600-Watts Frequency Response (-3dB): 33Hz - 18kHz Usable Low Frequency (-10dB): 29Hz Crossover Frequency: 4kHz Nominal Impedance: 4-Ohms Sensitivity: 96dB Maximum SPL: 124dB Dimensions (W x H x D inches): 26.25 x 30.75 x 18.75 Weight: 128 Pounds https://ampeg.com/products/pro/pr410hlf/

Can I send our guitarist your way please for summary execution? 😂 I kinda recall you (started?) a thread on Bass VI options and alternatives. Where did you end up landing on that front, squire? Love to hear any recordings / clips you've done on your Bass VI - do you play the bass part as well as the guitar parts?

Another vote for John East pre and sweepable mids! What's the particular model name you're going for?

I do 😜

Here you go

£11.50 from Amazon

Short answer 'no'. Seems to be the sort of information that Yammy (and pretty much all bass makers?) keep close to their chest! And the boys that really know their Yammys e.g.@hookys6stringbass, @hypercarrots and @pete.young I don't believe have ventured into the x34/5 series. At least with the Ibanez 3 band EQ you get to select the mids centre point - a welcome feature not available on the 734/5 as you know.