Steve Browning

It's all subjective, of course, but I couldn't disagree with you more. As I have said, my Mesa journey has taken me through a number of different amps/cabs but I've retained (to my ears) the same sound throughout that journey. I have also said that I struggled with the eq when I first got my Bass 400, in the 80's, but perseverance has paid off handsomely and I've saved a fortune over the years.

I'm as happy as Jack when it comes to the volume control. Always flat out and I vary the strength of my plucking to achieve dynamics. It's not difficult to play at a whisper with everything flat out.

Can't help but think 'Boom' doesn't conjure up an image of nicely controlled output! Boom is the last thing you want!!

I stopped taking my old Precisions out on the road a little while ago and. initially, used Fender Japan 70US models with Bass Doc tort scratchplates live. I swapped out the pickups for Kent Armstrong Vintage P's. I was asked (by Simon at SVL) if he could build a bass for me and I ended up getting two. They are copies of my 66 Precision but in a finish based on the mocha/black combination of late 70's basses. If it weren't for Simon I would still be using the Japanese basses as they are extraordinarily good and consistent (never bought one having played it first and every one has been brilliant). Here are the oldies and t he Japanese basses together - the other is a Classic 50s. The 66 is, as you might imagine, is in the middle of the front row.

I had one of those and would kill to get it back;. The pickup was a little smaller than a 'real' Stingray and was a little microphonic but a wonderful instrument.

Not in any of the pictures I can find.

It sounds brilliant. Really pleased with it. Even on a Sub it is close to what I remember from my old Stingray.

This one sold but looks like a current offering.

OK. It's a short. I took off the control plate (wiring intact) and it's fine. Thought I'd been careful fitting it but obviously not enough. As you were folks.

I have got 5% overwounds on my SVL basses and they're magnificent.

6 string fretlesses (with a pick) at dawn!!

Before I make contact with Mr Retrovibe himself. I have just fitted this pre-amp to a Sterling Ray Sub. Nothing massively tricky but I find the controls all work fine but the guitar cuts out completely once the bass control is turned past the halfway mark. Has anyone experienced this (or knows what the answer might be). I have to say it makes a huge difference (until the above problem arises).

Makes sense.

Are any of those isolated bass tracks any good. There's a whole load of Queen multitracks available.

Correct up to a point. The prices seen are the offered price and not the sale price (in many cases they will differ). It's a yardstick, I grant you.

Is it possible to allow sellers to delete their ad? I know you can PM a mod but that could impose on mods time. Allowing a seller to delete would probably go a good way to achieving this.

Interesting thread. For me (on a gig) Fingers Thumb on pickup cover Rotosound Jazz Bass (45 - 105) on: 2 x SVL Reserve Precisions and 1 x Fender Japan A/E fretless ClearTone cables (silent plugs) Mike Hill switcher/buffer (two outputs) Output 1 to amp rack (via CleartTone cable) Output 2 to Peterson Stomp tuner (output 2 is permanent but has a mute switch on the unit) Mike Hill unit goes into Korg DTR 1 rack tuner Tuner into 'A' Mesa Subway TT-800 (Boogie channel) Effects send/return into Channel A of DBX 215S graphic eq (currently in bypass mode) Channel B routed into 'B' Mesa Boogie Subway TT-800 Rack powered via Furman power conditioner

I can amplify at home but actually usually practise acoustically. Sometimes I'll rest the head against the wall if |I'm feeling indulgent!! 🙂

Just got hold of the Tokai bass from Mike (via another Basschatter). Didn't get to meet directly but everything was concluded perfectly and just how you would want a deal to go (he had an early 70's Fender case off me).

Marvellous. Now for the Palestinians and Israelis!! 🙂