scrumpymike

Just picked up this nice s-s off here. Not done my set-up yet but first impressions are very favourable. https://cdn.basschat.co.uk/uploads/monthly_2020_12/IMG_20201212_151727.jpg.14f59f910ab091d222c7723966c493cf.jpg

From my dealings with Adrian in the past, this is fairly typical. He can be very, errr, pragmatic. "It's customer service, but not as we know it Jim." 🙂

Dave, I would say that a couple of modern 12" drivers plus experimenting with the amazing controls on the TT - particularly the Bright boost and balancing your HPF / Bass / Hi-Mid settings - would get you right where you want to be. The TT sounds amazing thru my pair of Barefaced Super Compacts.

Coming along nicely. Can't wait to see that grain on the fully-finished body!

Somebody seriously deserves a design award for that! It's like the classic Ampeg AEB-1 with a modern twist. https://i.pinimg.com/736x/0c/85/5d/0c855d6ca55d3360397437c4e4913b6a--vintage-guitars-unique-guitars.jpg

Whoahhh! They just totally float my boat - especially the black one. Used to love the Vox basses (and others) that Wyman played in the early Stones days... but that's just me 🤪

No problem, I want to learn how to do this anyway.

Just got it back and the sockets are XLR so that's the lead I need. Also posted on the recording forum to ask how to set the DI switching on the amp and any other tips.

I've been asked to post some recordings of my new Mesa TT-800 and I want to DI into my Zoom H4n. I've only ever recorded with the Zoom through its on-board stereo mic's but it also has a couple of XLR sockets. My questions are: do I need a special XLR lead or will a standard mic lead do? and how do I set the two DI switches for LEVEL LINE/MIC and PIN 1 LIFT/GROUND on the amp? Hopefully you guys can answer these questions and flag up anything else I need to know.

That's how I've used mine but I'd prefer to DI so that I'm recording the amp's output rather than how it sounds through my cab. I'll see if I can get help on the technical forum.

I've got a nice little Zoom H4N recorder that I've lent to a mate of mine. I'll get it back and record something. I've only ever recorded stuff using the onboard mic's so can anybody tell me how to DI into it from the amp? IIRC, the only other inputs on the Zoom are a couple of jack sockets. It can record WAV files or MP3.

Not very good at this sort of thing but unless Steve B can oblige I'll see what I can do.

Ooops, just edited the Boogie para to read it's the 'ideal partner' to the Subway channel. Must learn to read as well as write 🙂

Scrumpymike’s Mesa Subway TT-800 review When choosing a bass amp, there’s always an element of compromise. As a gigging musician, I have to look (well, listen mainly) for one that has a broad enough palette of tonal colours for the different kinds of music I play in diverse bands. That’s the practical side of things, but it’s not all. Like most bass players, I also carry within me that ‘holy grail’ sound that lives somewhere in the magic triangle between my head, my heart and my soul and grew from a seed that was planted in my teenage years. This personal ‘gold standard’ is an emotional rather than practical aspect – but it’s an equally important requirement that has to be adequately addressed by my amp of choice. In my case, I guess you would describe it as warm and round but at the same time punchy and coherent enough to cut through the live mix. So, that’s the starting point for my subjective review of the TT-800. The amp I sold to make space for the TT-800 was a Subway D800+, which in turn replaced a D800. Both of these were extremely capable, much loved, and tough acts to follow. However, the respect I have for Mesa Engineering after gigging those two amps together with the glowing reports from Talkbass forum members led me to expect even more from the TT-800. Another factor for me was my liking for the GK MB800 Fusion that served as back-up for my earlier Subways. I loved it for its punchy delivery and valve flavour but it was just too lively for me. My reasoning was that the addition of valve goodness to Mesa’s signature voicing would be just what I needed – and so it has turned out to be. The design brief for the TT-800 was for a two-channel amp that combined the best of the D800+ (the Subway channel) with the much-loved tones of yesteryear’s Boogie 400+. Sounds like a great trick if you can do it! So did Mesa manage to pull it off? I’ll start with what I’m familiar with, namely the D800+-inspired Subway channel. The short answer is yes! On this channel, you get all of the D800+ positives enhanced with that subtle valve colouring. The features that were game-changers on the ‘plus’ upgrade of the D800 are also present and correct on the TT, namely: the high-pass filter and the high and low boost switches. You truly would have to work hard to get bad sounds out of this channel. The Boogie channel is new to me, never having heard the classic 400+. My initial feeling is that this is a great rock amp offering authentic classic valve tones with all the usable sweet overdrive that I will ever need – and then some. For my purposes, it is the ideal partner to the Subway channel. I could go on about some of the more subtle features of this amp (and probably will do at a later date) but don’t want to comment further until I have used it at gig volumes – or even at actual gigs! We and our adoring public remain hopeful. Last of all, I can’t sign off without mentioning a couple of arguably trivial aspects of my TT-800 purchasing experience. My amp arrived 6 months after I placed my order with Andertons Music and had obviously spent much of that time outside Mesa’s control. I must say I was expecting the worst (it’s called the covid mindset) and was pleasantly surprised when the carton arrived looking like it left the factory the day before. Top marks to Mesa for their packaging. Inside the box, there was clear evidence that this is a company that cares. The wire wraps used to close the internal packets had been carefully – almost decoratively – tied in a way that would do credit to Harrods’ gift-wrapping department. Inside them I found a headphone adapter socket, a set of thick felt insulation pads to go between the amp’s rubber feet and your cab’s, the best user manual I have ever come across – and a wonderful black card hand-signed in white marker by no less than 14 members of the assembly and inspection teams. I can’t derive names from all the signatures but you all know who you are and, in case you ever read this, I salute you. We all know it’s often the little things that tell the true story.

Well, mine finally arrived yesterday. Amazing piece of kit! Still getting my head round it - more later.

Re neck dive, I'd say from experience that most s-s basses with their top strap button at F12 are pretty unlikely to dive. The exception would be something with a relatively compact/light-weight body and large headstock with chunky tuners. The latter case can normally be sorted with light-weight replacement tuners. Pretty obvious really.

The SBMM white option is Olympic White. The way I'd describe it is definitely a white white but, unlike some thin, wishy-washy whites, it does have a solid depth to it - which maybe suggests a touch of cream in there. On close inspection, the white pick-guard has a barely discernible hint of green. All very subtle and hard to describe (or photograph) but looks great with the chrome hardware IMHO.

The quirky hardware doesn't really work as well with a dark body finish and the shading on this particular digital image makes it even worse. I am delighted with the look of my white bass - and every other aspect of it.

Just to clarify, it's the Sterling By Music Man version I have. Less than a third of the price of the above and, according to several Talkbass owners who have both, so close to being as good as the premium brand version as makes no difference in the real world. The pick-up and controls of the SBMM Ray are just incredible.

Having owned 4 of them (pre-Chowny), I have a high regard for the Scott Whitley basses. Only thing I would say is that the position and balance on the strap were compromised (for me anyway) by the fact that the compact body shape doesn't allow for the top strap button to be located at the F12 sweet spot. Since Stephen C moved SWB-1 production from China to India, the denser woods used have reduced the neck dive but that has also made the bass significantly heavier. Re the SBMM short-scale Ray, I recently got one and am blown away by it! I can't fault it in any way and it is massive value for money - provided you are happy with that the Ray signature sound, which they've managed to retain. One of the most impressive s-s basses I've ever owned regardless of price.