Dan Dare

This thread does illustrate the benefit of buying from a specialist. That will usually (if not always) mean a smaller shop and you will almost certainly pay more for the privilege. However, there are benefits to doing so. The larger shops depend on volume for their turnover. They buy in larger quantities at lower cost, enabling them to charge less. However, their tighter margins mean they spend less on set-up and detail and will not be able to offer such a personal service. This applies especially to the predominantly online retailers. If you don't mind taking a chance that you will have to either do set-up and finish yourself or pay someone else to do it, you may save some money by buying from them. If, on the other hand, you value service and want your purchase to be a pleasant experience and to get an instrument that is right first time that you can just play and enjoy, you will be better off supporting that specialist who tries harder. Given that a good instrument is generally not a frequent or cheap purchase, I know which option I prefer.

Given that it isn't likely to realise a lot, whether sold whole or one piece at a time, and also that it's "surprisingly good", why not continue to use it as a spare?

Hence the dreaded Auratone mini-speakers (aptly nicknamed Horrortones) and later NS10s that cropped up in studios everywhere - to get an idea of what a mix sounded like on regular domestic gear. As far as Motown using a relatively high hpf goes, they had a living to make/records to sell. They had to make things sound good on car radios and the like in order to get radio plays and consequently for people to buy the records. Most people did not own high quality sound systems and still don't. The few who do are not going to keep a record company in business, especially as many of those will not be interested in mainstream pop music to begin with.. As a matter of interest, hpf at 70hz is still decently low.

Neck oil, firewater, hooch. The electric soup is stolen from the long-running 'Dear Bill' column in Private Eye.

I think you answered your own question. Post Christmas bills traditionally mean people want/need to offload stuff to boost the Exchequer. A good time to buy if you have the funds.

Trying to re-create studio tones in a live context is a minefield. I agree with comments above that it was probably a vintage P (because that's what most blues players would have used), possibly with flats (you can get an over driven sound with any kind of strings depending on how you treat the recorded track), but the end product will depend on the processing used in the final mix. Could well have been recorded direct to the desk and if so, probably via a specialist pre-amp. Jamerson was recorded that way. Despite claims that his sound was achieved via the classic Ampeg rig, it was actually only used as a bass monitor in the studio so the band could hear him.

Good advice. Those Greenbacks won't have the extension to produce low frequencies loud and you may risk damaging them if you push them.

The tension of the strings dictates (or should) the diameter. I use that set and find them balanced. The only way to find out if they suit you is to try some.

I just don't get this. Mass produced stuff and tat acquiring the status of a holy relic because someone famous has used/abused it. I can understand why the organisers put on such events (bizness, innit?), but why do so many go along to pay money and gawp? Are people that gullible?

Don't forget the full on doom/death metal costume and make up, blood capsules in the mouth to bite at appropriate moments and to strangle a live chicken during the sermon 😉

NABOP (not another bloody overdrive pedal)

Another vote for Watford Valves. Derek is very helpful.

As the Bassman 135 used four 6L6 power tubes, I think it would produce rather more than 65 or so watts. Have you ever used one? It's a pokey amp, trust me.

The final phrase - "the punters seem to like it" - is what it's about. It's all very well being "authentic" and "true to one's principles", but it doesn't pay the bills.

Fabulous playing. Those producers didn't like him because he was prone to be erratic and to over-indulge in the old electric soup. Tragic waste. Brilliance only carries you so far. If people can't rely on you, they look elsewhere.

That Bassman 135 should make plenty of noise with the 4x10. Older wattage ratings were very conservative. I had the same rig as you back in the 1980s. The old 2x15 was a bit of a beast to lug around (my trusty Volvo estate came in handy). One of the speakers went pop and I replaced them with Peavey Black Widows, which made a big improvement to the sound.

This. If you're spending proper money on something (which, unless you are buying a beater bass or a cheap amp for, say, a youngster, is the case with instruments) and the seller is not a legit shop/dealer (they must offer guarantees, etc, which gives you some protection), it's crazy not to deal face to face.

If you have big hands, a certain guitar, er, customiser, whose work is much revered on here should be able to help out... Being serious for a moment, I agree. I like to dig the pads of my fingers slightly under the strings - it gives a fatter tone - and find there's too much rattle and clank with a low action. Some of the vid's you see, especially by slap players, are terrible for that. All bzzz, bzzz, rattle, rattle and no note.

Black, too.

I think it's a rolling thing. Everything changes over time. When I were a lad in the 1950s, a classic car was something pre-war. The classic cars I eventually owned (Saab 96s and 99s) hadn't even been introduced or even designed back then. However, when I had them in the 1990s/early 2000s, they were considered classic cars. The music's no different.

They do project well. I first noticed this when someone else played through my rig. I was surprised how much bass there was out in the room from a couple of 4x5 cabs. Re. comments about weight, they are solidly built and the larger PJB cabs are heavy. However, if you run several of the smaller cabs, as we do, they are easy to carry in several trips from/to the car. No big deal.

Don't you believe it. Plenty of jazzers do very nicely playing in function bands, etc. They may not get to play much pure jazz, but if they make good money doing a few weddings and parties each week, they have plenty of time to satisfy their souls at other times.

That's a nice set-up you have. I prefer the 4B to the C4 (I have both). You'll have to spend a lot of money to improve on it and I also find they make just about any bass sound great. Is yours the older Suitcase (same size as the 4B)? The newer (C4 size) one is a bit punchier and not as fat sounding in my experience. Probably due to the cab size.

You simply must try and compare before making the switch. FWIW, I use PJB cabs with an AG700 and like the sound a great deal. PJB stuff is quite hi-fi and the slight warmth that Aguilar kit has is a good foil for that. You need a few PJB cabs to shift air if you're using the 5" drivers (I have four 4x5s, although smaller jobs are adequately covered by two or three). The 7s, as in the C47s you refer to, are better in that regard - more weight to the sound. However, don't make the switch without trying/comparing. It could be an expensive wrong turning.