Downunderwonder

I have played some inexpensive basses. They didn't come up to the mark. I have played a couple of really pricey ones. They didn't do for me any better than my mid range ones. For me so long as it is stable and plays well it's all good. I have had a few Fenders, to wind up with a Fender that I got relatively cheaply. It's a bit heavy so I may look for something lighter one day. What I haven't seen here is any of the new miracle CNC pretty competent house brand stuff made cheap(ish). I wonder if the hardware will let it down. As my Grandfather said.... 'Ye pays ye money and ye takes ye choice'. My opinion of fancy wooded expensive basses is 'fine for you, not for me'.

You are basically trying to imply there should be no consumerism involved in basses. What makes basses different to almost everything else you can buy?

You wish. If they tuned them they might discover the intonation needed to be set.

Methinks this means not what you think it means. It's entirely logical not to stock something that they only sell one every five years. Unless you mean they must be telling lies about 5 string sales?

I think it might be more a case of Mesa lost the designs for the weird Master vol. There is a narrow band of useful overdrive between 9 and 10. The pirated preamp schematic is freely available but it stops short of the Master. Either a bunch of stuff was replaced on your amp or the tech is one of the ones who makes everyone's life difficult doing mods to perfectly good amps when we would all be better off if he took a job at McDonald's. Some of the D180 did come with a full set of 12ax7.

Depends on what fx you have and how you like them. Also depends on if you are being fed to PA and you like some reins on soundguys that would be better pint pullers. Also the signal level in your fx loop and what your HPF likes. A few examples. Compressors and envelopes and octaves sometimes need the whole enchilada signal to do their best work. An octave down will need HPF to follow in any case. If your DI comes from a pedal you'll want the HPF in before that unit. If you don't have any pedals and your HPF is a line level operating unit you'll want it in the fx loop. Sometimes a unit will be good in a pedal loop with the buffered signal but too little input impedance of its own to plug pickups in direct. Some big gun little stage players go the other direction and put HPF after their FOH send so they can make the stage amp bark a bit louder without sending a whole lot of lows into the room that messes up FOH.

The airy woody overtones that distinguish the DB are easily messed up by destructive interference from dual cabs. They also don't come back from the front PA to you nearly as well as the low bass. You'd be a candidate for IEM. Otherwise you definitely need to point your one cab directly at your head.

Best things about an inline board tuner? If you forget to kick back on it's right there flashing at you when you start off in air guitar mode.

Dicking around with the amp controls would be an even worse solution most of the time also.

Nope. You have twisted it all out of context to my reply to the hidden default suggestion the volume knob is useful for the muting function when the pedal is shifted from in between bass and amp.

Tuner ain't gonna do squat with the volume at zero!!!!

You're thinking of Sting / Gordon whathishandle?

More importantly it perfectly restores your volume level when you kick it off, and turning off the bass volume wouldn't do at all!

It's proforma dismissive of an enormous musical industry dedicated to entertainment being priority numero uno.

Play up the neck to get an accompaniment an octave below. Don't expect any clarity below an open D.

People have the wrong idea about octaves pedals. It's not for the octave below what you can get from the instrument!!!!

Transit B is total overkill for clean sounds. Still, for what you would spend later on chasing compressors, plus a tuner, an overdrive, then the EQ DI pedal you might be ahead.

My SMX and 1518 are from 94/95. MDF and battleship grey tolex and LAF. The speaker is a Celestion Made for Trace Elliot which I believe to be same as the one they used in the smaller 1523 cab. The 1518 is an extremely sensitive cab, does not make much below 60hz so HPF or judicious use of the graphic EQ is required to go loud. If replacement is required, I have been told the Eminence 3015 is a goer.

Generally when my solo is finished the predominant emotion I am getting is relief.

Looks like a bought one!

Does doing both of those two options at the same time count? As in, try as I may my adoring public are not motivated to rapturous whistling. Polite applause and a couple of ye haws ( thank God the music is starting again??) is my lot.

Have you investigated for a mains power source?

I just figured the chording would be more straight forward with trad guitar intervals.

Headroom is only headroom if the cabs can handle it being applied.

Not sure what that means. Ultimate caution warning. Do not connect two amps to one set of connected cabs, not even by mistake, or you will get two smoking ruined amps almost instantly.