Dan Dare

In the best of all possible worlds, I guess one should use the same make/design of cab, but mixing and matching will probably work pretty well, provided they are not wildly different (say a 1x10 and a 1x18) unless you combine a high quality cab with a dog. For example and assuming we're talking about decent cabs, one designer's 1x12 is pretty much the same as another's, whatever the sales blurb claims. They're all a pretty similar size and have been designed to achieve the same end result. Most makers are using the same or similar drive units, after all and pretty much the same design software, too. If you can afford to buy more of what you have already, great, but if you can't and you find something decent for a good price, it's got to be worth trying. I like my PJB cabs (have four of their 4x5s in total). I wanted something to give a bit more weight to the sound when I only take out one or two, so bought a used Berg' 1x12 (with no tweeter). The combination works very well.

Gawd knows. If I had my way, I'd be back out there tomorrow. I'm a senior, too (67), but I don't buy into the mass hysteria about this. If I was frail or had health issues (or had contact with anyone who was/is), I'd be more concerned, but that's not the case.

Would these be any good?

More like @rse on fire, I suspect...

Freak out, baby. Woooooo

Apparently, they used to pay him to sing 'Light my Fire' in the garden furniture department to boost sales of barbecues and incinerators.

That thing will be microphonic as hell by now. The p/us on my '72 Jazz went that way a number of years ago. Got Kent Armstrong to hot wax them for me, which solved the problem.

This thread has to be a wind up.

I've heard Yamaha use Gotohs. They'll be cheaper than Hipshot and of equivalent quality to the original.

Jazzjames is right. Get it looked at and if the problem is not a cheap/easy fix, move it on and put the £200 towards something new.

Most decent modern amps will make a reasonable job of most things. Replicating recorded sound in a live situation is not simply a matter of using what people on the records use or used. Bass would virtually always have been (and still is) recorded direct, perhaps augmented with a mic'd cab, but often not. The sound you hear on the records was/is created via a lot of expensive studio-quality equipment that you could not possibly take out on the road. Even if you have very deep pockets (and people to carry it), it will still not necessarily produce the goods at live volumes without PA support (and high quality PA support at that). You can end up chasing your own tail and wasting a lot of money trying to get 'that' sound/tone. Prices of a lot of average and even poor "classic" kit have been driven into the stratosphere as a result. A classic example is the myth that "An Ampeg B15 will give me that Jamerson tone because that's what he used in the studio". Leaving aside the fact that JJ's sound, as is that of all players, was largely in his fingers/technique, bass at Motown was recorded direct, via custom preamps (Motown built or had their own built) and so on. The amp was merely used for in-room monitoring so the band could hear the bass. Best to visit a few well-stocked shops, ask their advice, try a few things, read some reviews and find out what you like. In view of what you're looking to re-create, some valves would be worth trying, but they're not essential. Fwiw, I get a decent approximation of the Jamerson tone with a Carvin class D head and Phil Jones cabs, which are hardly classic or vintage stuff.

If someone who probably doesn't know or care much about bass amps/tone says that, it's highly significant. I think you may have answered your own question there. If you want that valve magic, can afford it and can live with the weight (little or no worse than the SVTs or big Mesas others recommend, after all), has to be worth another look.

18 for me. I'll play the other 7 happily as long as you pay.

Another of those ad's where they have no stock, so they make the price ludicrous so nobody will buy and they don't lose their place on the search engines, which they would do it they took the ad' down.

Nowt wrong with Mexican. As you (I assume) only want it because you prefer the way it plays, I'd get one and keep the P neck, so you can return it to original when/if you sell.

Make sure there is still some finish on the face of the peghead. Applying a decal to bare wood does not work very well.

Hellzero is right. Short of paying out for lightweight tuners (which may not solve the issue if the imbalance is really bad), there's relatively little you can do. SD's strap positioning guide helps, as does a grippy strap, but they're not a complete solution. You shouldn't let go of the neck. You refer to having a problem when playing an open string. Are you removing your hand from the neck when doing so? If so, practice playing open strings without removing it completely. As long as your left hand fingers are not in contact with the strings and you are still supporting the neck, it should be fine. It's actually inefficient to completely remove your fretting hand from the neck - you have further for the hand to travel back into position when you need to fret a note.

This is very good advice. You don't want to be eq-ing out the hump. As others suggest, I'd look at general purpose large diaphragm condensers from Rode, SE and AT at your budget.

If you've still got your Quilter, that should provide the oomph you need. I'd check out pedals and preamps. Something with a valve or two in it would probably do the trick for a classic rock sound. If not, a used Ashdown would be a safe, modestly priced bet. If your budget is less constrained, see suggestions above. As your like your Laney cab and if you have money to spend, the big Nexus valve head is a formidable beast.

I think you might be pushing it to expect a single 12 to cope in a band where you play heavy rock. I agree with others that the Rumble 500 is a sound choice, but suggest an extension cab will make a big difference. Any 8 ohm 12" cab would do it (within reason) if funds are tight. It doesn't have to be a matching one.

Norman "not visually appealing". Are you having a laugh? He looks a proper geezer. No b/s, doesn't care about image, just about playing good notes. How is that not something you'd want to aspire to?

Caveat emptor has to be the rule. If people in the market for something don't do their research (as others have pointed out), they may well end up paying over the odds. I see plenty of items for sale on here, on eBay and on many other for sale sites that I would consider over-priced. So I don't bother with them. Many people have an inflated idea of the worth of things they are selling and for myriad reasons, which range from naivety to chancing their luck. That's fine. They are unlikely to make a sale. The market is pretty good at deciding these things.

So it's a Squier Bronco. The cheapest bass from the Fender/Squier stable and he wants £220 used. Another fantasist.

What a chancer. Pompous tripe in the comments and he doesn't even know what it is. It's not even a bass. It's a baritone guitar - typically tuned A D G C E A.