Beedster

It's only a bargain if it's cheap when the auction closes, not two days before. The sale price of plenty of items can increase by hundreds of pounds in the few seconds before the auction closes, especially if it's a rare or valuable item and interested collectors, dealers (or just players) don't want to show their hand too early.

Personally I'd stick it on a bass and keep it strung up. If you don't have a bass to put it on, buy a cheap body and a bridge, you don't need the rest of the stuff (I assume the neck has tuners?).

Keep an eye out for a Heil PR40 on ebay mate, mine was about £200, although I may have been lucky C

I was almost tempted to move to Leeds for this, my family are very glad it's been filled

Many thanks guys, although I'll sue the lot of you if I snap one

[quote name='Sean' timestamp='1385231678' post='2285940'] I'm about to start gigging regularly with my Mesa Boogie 400+ and I was wondering what spares should I carry? I'd be interested to hear from any users of big valve amps what they carry as spares. I already carry a good DI but should I carry an array of valves too? [/quote] Never had a problem with a tube amp live, whilst I've had quite a few problems with hybrid/SS amps. I carry a DI just in case, depending on where the problem might be, it would go through the power stage of the head or into the PA. If it were a gig without a big enough PA I might take a small SS power amp alongside the DI.

Wow, what can I add to the accolades above other than that I agree with them all and that I could have spent hours chatting to Roon, a top guy in every respect, and a worthy inheritor of an instrument that has some real personal meaning for me. Enjoy it my friend. C

[color=#282828][font=helvetica, arial, sans-serif]Anyone know if it's alright to string TI Jazz Flats through the body? Never had much luck with La Bella flats, and my new Fender RBIV is crying out to get rid of its current rounds. Having paid quite a lot for the TIs, I don't want the E string going before I've even played it![/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Cheers[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]C[/font][/color]

[quote name='BetaFunk' timestamp='1389902171' post='2339425'] No worries Beedster. I still don't really understand why they are so expensive though. Some of the prices are crazy and it seems as if they have jumped up in price within weeks let alone months. I agree what you say about your Marathon and i love mine but wouldn't pay what they seem to be going for right now. The same goes with my 1970s Fender Jazz. I love it but glad i bought it nearly 20 years ago because i wouldn't pay what they go for now. What we need to do now is find out the next 'must have'. I'm thinking of buying up all the pointy 1980s basses i can as cheap as possible and hope they are next years 'must have' and therefore increase in price ten times. If they don't then i'll have enough wood for the stove next winter! [/quote] Ibanez Musicians. I reckon this time next year they'll be going for around £1200. You can pick them up for £600-700 now. If I was in the buy and sell for profit game (as opposed to the buy and sell for substantial losses game that I appear to have played for several years), I'd be buying one now.

[quote name='BetaFunk' timestamp='1389900571' post='2339391'] Yes, I must admit that i am but i've had my fun now. [/quote] No, you're fair enough mate, I'll admit that my estimate of their value in the other thread was somewhat lower than reality. I think there's a lot of them out there in very poor repair which explains the cheaper ones I'd seen (if my experience is anything to go by they're not as robust as the average Fender of the same era), and I imagine many of those - perhaps including the defretted one currently listed - are simply uneconomical to repair, hence the premium price for the good/mint ones. I have to say I really liked my Marathon, it was incredibly light and the neck was wonderful to pay, but it simply didn't have the tone I needed. I wish I'd tried it with flats though, I suspect that might have changed my mind at the time. C C

[quote name='jbn4001' timestamp='1389821878' post='2338397'] Hi there, I have had a dpa4099b for about 4 months. I've not gigged in a while so haven't used it that much. I also have a Headway EDB2 pre amp to go with the mic. I recorded a demo in a jazz quartet at the weekend (drums, double bass, trumpet, guitar). We recorded live in one room , albeit in to 8 mics and channels (1 ambient room mic, 4 mics on drums, bass, guitar, trumpet). We were set fairly well apart as the room was large. I was partitioned off with half height boards and bits of padding. The problem: A lot of "bleed" or "spill" of all the other instruments in to the dpa mic. So the bass sounds fantastic on the recording, but the cymbals and the trumpet in particular bleed in to the mic which results in too much ambience in the recording - it sounds like the trumpet is playing far away in a bathroom! Short of playing alone in an isolated room, how can I avoid this excessive bleed? I'd like to use the mic at gigs as well as recording, but am now unsure how viable that is given the above experience. [/quote] That's surely applicable to all mics and DB, not just the DPA4099? You can use the bleed well in the recording, but only if the mic in question responds well to the other instruments (especially cymbals). I've also always assumed the DPA was more for live work and is designed to reject other instruments to a point. Unless you go to ridiculous lengths you'll always get some bleed, there are probably far better mics than the 4099 for recording DB with which the bleed might work better.