SamPlaysBass

Hey T-Bay, cheers for the advice. Googled the serial number on the headstock, and it shows it as a 1998/9. I can't really take the neck off the body to check the serial number under there, just hope that these features are either inline with other basses of this era or if they are warning signs!

I've heard rumours that the music shop he bought it from may have slipped the odd fake in the rosters, hence the caution. Also, anyone know what model this is?

I've been offered a USA Jazz for a steal, so I went to look at it tonight. First impressions are positive - lovely Ash body on a maple neck and only a few cosmetic marks. Definitely hasn't seen much action, just the odd dent here and there. Guy who is selling it is nearly 70, bought it when he retired with the intention of learning but never got around to it. The neck feels chunkier than my MIM Jazz from 2007, a little bit nicer in fact. However I've noticed a few things that could be suspicious. First is the string-through body holes on the back - they don't seem to have been drilled in equal intervals. Next, there is a little gap between the pick guard and control plate, with some black adhesive underneath to fill in the gap. Anything fishy here? Bass itself sounds good. Can anyone verify if this all checks out with other Fender Jazz basses from the late 90s? Serial number begins with N8, making it a 98/99 model - guy selling it thought it was a year or two old when he bought it from a local shop 10 years ago. It was closer to 10 at the time, but in very good condition.

I AB'd both the Retroglide 800 and the RM500 the other day through the same ABM 4x10 in PMT in Cardiff. The volume and input Knobs on the Retroglide were both at 12 o'clock and I got some nice sounds out of it. By contrast, I plugged into the RM and had to secure the knobs at 9 o'clock for everyone's safety! The RM is massively louder, but as Merton suggested, it may be because it's been 'voiced', whereas the Retroglide is extremely clean. I'd even go as far as to say that the Retroglide would be a good option for those running other instruments (keyboard, guitar etc.) as its crystal clear. The RM, despite being 300 watts down, blew it out of the park for volume, but was very heavily voiced towards the 'punch you in the face and rob your wallet' end of the spectrum. A Retroglide could probably do the same, but would need some time spending with that lovely EQ to do the same.

Curious to see what those who've played one these have got to say. Laney don't get much love, but the Laney RB bass head I borrowed from a friend for a gig a while back was punchy, big-sounding and had a lot of balls. Built like a safe as well. Would be nice to hear some positive Laney vibes!

I've tried the bass with fresh battery and with a GK RB700 A/Bing with the same cables, cabs etc. Worth checking though, cheers Wal! The fuzz only happens after you give it some beans - it's like it hits the limiter but doesn't return to normal properly, if that makes sense? And that's not stupid clipping (i.e. full gain and whacking it), that's using the blue LED to show you where it's clipping and turning down. It's also audible though the headphone socket leading me to think it's the input stage, but I'll try putting it through the FX return to see what that does. Thank you for that! The misleading thing is that when you fire the amp up, it plays beautifully. It's only when you increase the input gain and play with some force that the distortion happens - but it's as instant as stepping on a pedal. Beautiful, clean tone and then.... METAL CLIFF BURTON NOISE EVERYWHERE haha. I'm impressed at the reply time, how much have people been charged? I know it could differ, but just to give me an idea. Eich seem like a good company to deal with. Or could a tech have a go?

Recently bought a TecAmp Puma 900 (Made in Germany) from a lovely chap in Cardiff. It sounded the dogs, but recently I've found it distorting at the input stage. Even with the gain at 8 o'clock, it sounds like I'm running a Big Muff through it! I've emailed both TecAmp USA and Eich who have offered to take the amp and repair it at my expense, which may be rather costly depending on what needs replacing and shipping etc. The guy who I bought it from owned the amp from new and purchased the head from Bass Direct. He has also said that he'd give me my money back, but before I do, where else can I go? Where is the A Team when I need them? Help?

PMT offer finance as well, extra tempting... How do these stack up against the ABM and RM heads? I'm currently looking at financing one to have as a backup to a TecAmp Puma that needs a bit of work doing to it. I prefer clean tones, and would run a SansAmp into it for some dirt!

There's lots of Ashdown fans out there, with lots praise for the ABM and the RM series, but how come no love for the Retroglide? It seems like a cracking amp on paper and had a very nice sound when I tried one for 10 mins in a music shop. They are also very nicely priced and made in the U.K. with a 5 year warranty. Is there something glaringly obvious that I'm missing? Why aren't these flying out of the shop?

Best 500-1000 watt bass head I've owned is the TecAmp (or Eich) Puma 900. It sounds full and balanced, with no weak spots through the range. Recently used it at a jam night with other musicians using the back line and the tone from every bass and player was impressive - one of the best I've ever heard in that venue/pub (my local doubles as a cracking venue). Best 500-1000 watt SOUNDING head is my Trace Elliot GP12 SMX 300. Its louder than the TecAmp. And most other things on this planet.

When I was 17, a drummer friend told me that someone his mother worked with was giving away an amp. I assumed a broken practice amp or the like, so I paid a visit. I was presented with an Ashdown MAG 300 2x10 combo and a Laney 1x15 cab - all for the princely sum of ZERO. I'd never met the guy, I haven't seen the guy since, but from I was told, he was a pharmacist who had done the band thing in his youth and now had a family who needed the space in the garage for toys. Money wasn't really an issue. That was 6 years ago and got me curious - what's the best freebie you've ever had? Not counting presents or gifts as such, but a genuine 'something for nothing' story.

When I was 17, a drummer friend told me that someone his mother worked with was giving away an amp. I assumed a broken practice amp or the like, so I paid a visit. I was presented with an Ashdown MAG 300 2x10 combo and a Laney 1x15 cab - all for the princely sum of ZERO. I'd never met the guy, I haven't seen the guy since, but from I was told, he was a pharmacist who had done the band thing in his youth and now had a family who needed the space in the garage for toys. Money wasn't really an issue. That was 6 years ago and got me curious - what's the best freebie you've ever had? Not counting presents or gifts as such, but a genuine 'something for nothing' story.

[quote name='Woodinblack' timestamp='1496484945' post='3311794'] I use 2 x TC - RS112 currently. I use both for almost all gigs, but I only ever use one for practicing. I do often think of getting a 2x12 or 2x10 to go with one of the 112s, but nothing turned up in the right time and place. [/quote] Same here. 2 x RS112's are doing the job well in a lot of contexts, although I've always had PA backup, even if I hadn't needed it. I'd say modular is a very good bet - you always have options and they fit wonderfully in the boot of my car. I found both my cabs for under £200 - less than half one brand new one. Also, two cabs brings the sound closer to ear level, which is always helpful. The only pitfall I've found with a 1x12 is that the sound goes straight underneath you. I'm not sure if other people have experience with this (I'd love to know) but I'm toying with the idea of having one cab on the floor and then another elevated or angled toward me. Thinking of a Hovis best of both solution. That something more achievable with 2 1x12's than with single 1x12 or 2x12 cab.

Cheers all for the input. Ive notice RH heads going for good prices (~£260 for a good condition RH450) but the RH750 seems to be holding its value really well. By chance, I came across a Tecamp Puma 900 for a very good price and picked it up. Complete overkill power-wise but an extremely brilliant sounding amp. It's really shown me how clear the RS cabs are - almost studio monitor-esque clarity with this setup. I've turned the tweeters right down to harness some of the 'clack'. I'm having some teething problems with the Tecamp (cutting out, distortion at low gain) but I've given the amp the once over with some Servisol and some love and it's making a good recovery. It's also still under warranty so hopefully it'll be fighting fit soon! Cheers again for the suggestions, very much appreciated. Will keep an eye out for a RH head or even a Staccato if the price is right as a back up.

I'm currently running a GK 700rb II into my 2 TC RS112 cabs as a lightweight set up for gigs with lots of stairs / festivals etc. I've got a fantastic Trace GP12 300 SMX 4x10 combo that I roll out when I can for the LOUD or unsupported gigs, but I'm looking to replace the GK with something smaller that can be locked in a little Pelicase I have laying around ready for festival season. (The GK isn't huge but bulky compared to the tiny cabs - and it's a bit top heavy!) I appreciate the GK tone (that dry, piano-esque clarity) but ultimately, I don't love it. I love the immediacy and slight zing of the Trace, as well as the Valve pre-amp which gives a slight bit of warmth, so I'm heading more in that direction. I suppose I'm looking at something around 350 watts and class D. Luckily there's loads about, but where do I start? As a note, I'm running a Sansamp to give a bit of warmth, and I generally play groovy blues / funk with quite a few slap-filled embellishments. I'm a busy player who likes bottom-end balls and a hint of zing without sounding sterile or dry. This setup will probably be a monitor or for smaller gigs where there may/may not be a channel in the PA for me. I'm looking at either an Ashdown Retroglide (I like the 12 band, reminds me of the Trace and an amazing price at the minute), an ex-display Aguilar Tone Hammer 350 or possible a new Genzler Megellan 350 (I played through a Genz Benz Shuttle 6.0 a few weeks back and was amazed at how I could hear every note clearing even on a loud stage with ear-plugs in). With the exception of the Ashdown, I'd be buying online and probably not able to try before I buy (South Walian limitations). My gut isn't too keen on the matching RS450/750 amps, but I've never tried them. Sounds silly but trust the gut! I could be swayed though. I've also had a tough time liking MarkBass stuff, even though it is so highly thought of. I'd be happy to go second hand or brand new, somewhere around the £400 mark max. Any suggestions, thoughts, offers welcome! I'll be running a MusicMan StingRay 4 2 band and a Sire V7 5 stringer though 'em. Help!

I bought a TC RS112 cab from Thomann a few years back when they were going for £170. I couldn't believe something so cheap sounded so good, although the prices nowadays are closer to £400 brand new. Does anyone know why they were so cheap a few years back? Bought another a few weeks back (second hand) for £200 - completely worth it!