Paul S

Yes, indeed. 'I was exhuming corpses and found this in a crypt' I am two impulse buys over my quota so will leave it be. I do fancy it though.

It showed a BIN before. Now gone as someone has bid on it.

Looks kind of nice for £142 BIN collection only Sutton, Surrey. [url="http://www.ebay.co.uk/itm/Fretless-bass-/162071448306?hash=item25bc360af2:g:NHoAAOSwSgJXOD32"]http://www.ebay.co.uk/itm/Fretless-bass-/162071448306?hash=item25bc360af2:g:NHoAAOSwSgJXOD32[/url] Anyone know anything about them? A swift Google seems to indicate they were made in either Japan or Korea, bit of a cross over period?

[quote name='PaulWarning' timestamp='1463246507' post='3049948'] surely it's no big deal to carry an old head around? it's the cabs that are the trouble, I actually use a Trace Elliot 200 watt GP12 head with my Fender Rumble V3 500 as an extension cab because I prefer the Trace sound, plus I've got back up if my ageing T E head goes tits up [/quote] This is my compromise. I like Trace Elliot, not found a class D I like enough to replace Trace Elliot, so I mainly use an AH-300 head that I bought on here a while back that had been ABS rack-mounted so it is now just 12kgs. This gives the ideal set-up for me and a balanced carry with a BF Supercompact cab in the other hand. Back in the day I used some big TE gear - 118 cab paired with a 210 plus the head - nearly 100kg! I just can't load that kind of stuff in and out of the car any more with my fragile back. Funny thing is despite occasional bouts of nostalgia for that old rig I used a Trace Elliot back line recently that was the same head as mine but with a pair of TE 410 cabs. Moved a lot of air but give me the Supercompacts any day - sound is more focused in those!

I am new to mine and, other than home practice, I have only used it for one rehearsal with one band. But even so I can compare how it performed to other amps/cabs/combos I have used in the same situation as, with that band, we always rehearse in the same room in the same studio. So the CMD121P with volume at 12 o'clock was loud enough for this one band in that rehearsal room but, as indicated above, it will probably run out of steam very soon. To get the same presence in the band from the Fender Rumble 500 I had briefly I had the master on around 11 o'clock. Using my Trace Elliot AH-300 into a Barefaced Supercompact I have the master vol on the TE set at 8 o'clock, with tons more available on tap. I may be wrong, but I feel I can then project that one direct comparison to how I need to set up the Trace Elliot/Supercompact at the various smallish venues I play with that band. Usually I turn up a little or leave it the same, so I think the CMD121P would cut it for those gigs - small pubs where 100 would be crowded. But I also know how much I need to turn up the volume for my other bands and I know that the CMD121P wouldn't be loud enough. For example, in my loud 'classic rock' covers band I need to have the Trace Elliot to 1 or 2 o'clock. I had to use the Rumble with the master pretty much on full but it started to object and was better with an extension cab. Which is very loud but has to be because the drummer doesn't do soft. That is even with PA support and just using it as stage monitor. I guess all this means that 'loudness' is a subjective thing right up until you start metering it, which would be a bit silly.

Is the output as hot as they say?

Proper bargain!

I saw that this morning and thought the same. But I am an impulse buy too far this month already.

[quote name='mcnach' timestamp='1462985650' post='3047609'] If you don't play loudly and you can take advantage of a back wall/floor to add with bass reinforcement, you may be ok. I've used mine (I only sold it a few weeks ago, so it's still very recent in my memory) by itself a few times in small bars and it worked. But anything a bit louder and it runs out of steam. My comment wasn't so much about what it can achieve alone, but about the notion that because the master volume it's at noon there's lots left. There isn't. You pretty much reached its limit (through its built-in speaker). [/quote] Yes, I was with you all the way, just added some musings

Interesting. I've only rehearsed with it once and didn't need to push it that much. In fact probably got to around 1 o'clock and was asked to turn back down again. Overall I have been impressed - my next gig with this band is at a small place where we play quietly, so I'll use it there and see. Maybe take a second cab and leave it in the car, just in case.

I've just acquired a Markbass CMD 121P and like it a lot. For my main band, who are pretty quiet, it is fine on its own. Gain and volume both around 12 o'clock so room to spare, even. I am in two other, rockier, bands with loud drummers and it wouldn't stand a chance on it's own. I have a Barefaced Supercompact (2, actually ) and would heartily recommend one of those to team up with your choice of class D. If it were me, I'd be looking for a GK MB Fusion 800 or TC Electronic RH750 - something with that kind of power.

I've had it for years and find keeping busy the best antidote. I had it described to me by the audiologist as 'brain boredom' and if you are in a quiet environment with nothing much going on your brain starts to make the noise for you.

Consistently for us it is the Steve Earle country classic 'Copperhead Road', which never ceases to amaze me as we aren't a country band playing to country audiences.

A band I was in for 5 years from start up. The singer had a few promotions at work and it seemed to go to his head, developing a bad case of LVS - Lead Vocalist Syndrome - and behaving increasingly like we were 'his' band, not the band we all started together. He believed he had the ultimate power of veto and that only his opinion counted as to choice of gigs, choice of material etc. He started to treat us like minions (banada!) and he and I increasingly clashed over things. It all came to a head immediately before a gig over something silly (by this stage anything would have kicked it off) and we ended up having a very immature and rather loud finger pointing argument. I believe I threatened to throw him off the fire escape He said to the band, after a very awkward gig, 'its him or me' and they chose him. I was relieved as I should have left months earlier. And, to be fair, although a prize cock he was a very good front man, so i would have chosen him in a similar situation. But it doesn't matter how good a front man you are if you don't have a complete band - they struggled to find a bass player over the next year until the singer left because of his new baby and, with no bass player or singer, the band folded.

Incredible - that will make someone very happy!

If it were me, and I still had a decent back, I'd go for a Trace Elliot combo.

Damn you Basschat, more expense.

Impulse buy on eBay, I saw one of these going for a reasonable BIN in my favourite B/B/M colour scheme, I like short scale basses, I haven't heard much of this model so thought what the heck. It arrived yesterday. Looks exactly like this (pic nicked off t'net): Weighs just over 7lbs, slim 38mm neck at the nut, through body stringing, nicely finished as you'd expect from a VM. Short scale, obviously. This one has a ICS11xxxx serial number, so I think that means Samick plant not Cort? Whatever the heck difference that makes - anyone know? I think they can both make good and crap guitars? Just had a couple of hours noodling at home but I am majorly impressed. What a lively little fella! Huge output from the Duncan Designed split coil humbucker - had to turn the input gain down quite a bit on my amp after using my go-to Precision. Some beautiful woody organic tones in there that have great character and huge amounts of heft way beyond its price point. A bit like a Precision but not quite. A bit like the Squier Vista Musicmaster I have but not quite. Mainly its own thing and a very nice thing it is too. The tone is almost like that of flat wound strings but with more zing - difficult to explain but it is lovely I can't think of anything I would like to change on this - everything seems just right. Really looking forward to using this with the band - I think it will sit in there just nicely. Just felt I needed to share, really. I said all this to Mrs S and she said 'That's nice'.

Black. No question

Bought a Markbass combo from Jamie and used it as an opportunity to visit the Kent coast to collect. Had a thoroughly nice day and picked up my bargainacious combo at the same time. Great comms throughout, couldn't be happier with the combo. Cheers Jamie, hope to do more business with you in future!

Looks a beaut. I asked how heavy - 4.6kg, so too much for me otherwise I would have a punt on it (and probably not flagged it up ) [url="http://www.ebay.co.uk/itm/272229883129?_trksid=p2060353.m1438.l2649&ssPageName=STRK%3AMEBIDX%3AIT"]http://www.ebay.co.u...K%3AMEBIDX%3AIT[/url]

Too many. I *love* this, though. As though someone put all the funk tunes ever played into a leipzig condensor and this is what dripped out. band line up isn't too shabby, either. Fast forward to 30 seconds in to mis the anti-semite. No, not Ken. http://youtu.be/WdPzYVPDFyk

I had one for a while. Fitted the band perfectly. A tad heavy for me but balanced very well as the bridge is so far back(? - or the horn is forward - one or t'other!). Lovely to play, beautifully made. Not sure why I sold it, to be honest. Ed Friedland liked it, if you haven't seen this: [media]http://youtu.be/67Fo7AKwfA0[/media]

I jumped ship from playing guitar to bass and took my pick playing with me. I have always felt more at ease playing bass with a pick and can control speed, accuracy, attack, weight, timbre and all those other things far more accurately with a pick than with my fingers. But for the past couple of years I have been in a band where playing finger style is appropriate for an awful lot of the material so I have been practising and practising. I'm getting much better and can play finger style passably for a lot the the stuff I feel I need to. But my pick playing is and always will be more under control - it just seems natural.