thodrik

[quote name='Wooks79' timestamp='1421835368' post='2665438'] I also wish they had put a effect loop in it like the OTB, so it gave the option to just use it as a poweramp... [/quote] I would have thought that too, better yet an effect loop for both the clean and dirty signals. Essentially though, it then becomes an amp version of the EBS Billy Sheehan pedal. It looks cool and the blend control is a nice feature. I would have liked a separate EQ section for the dirty channel but whatever, it is a decent price.

What gauges are those?

I have a Sadowsky Metro, which I bought after failing to find a Fender Jazz as much as I liked my Fender Precisions. I honestly think that Fenders have been left behind a bit when it comes to active EQs when compared to Lakland, Sadowsky, Nordstrand, Sandberg etc. When it comes to a passive Jazz design, I still think that a good Fender can stand up next to anything. Hell, despite owning one, I have gone off 'expensive Fender clones with fancy on-board preamps.'.

[quote name='White Cloud' timestamp='1420741506' post='2652926'] Really glad to see the back of the 3 point bridge...worst piece of bass hardware of all time. [/quote] My opinion as well. The one on my EB3 is bordering on useless. In fact, from a design point of view a lot about my EB3 is pretty rubbish.

Looks like a redesign of the 'Tonal Emphasis' 500 and JJB heads. I am guessing that it is a lightweight version of those amps.

Looks interesting. I wouldn't buy it to be honest since the general spec isn't something I would ever go near, but I have no problem with Fodera, or Ritter's pricing policies or more out there designs. If they have enough demand to the point that they can charge into the thousands, good for them.

I don't suppose its much help in terms of access to a single bass track, but I have recorded a stoner/doom EP and my set up was pretty much a Fender Precision played through a Walkabout at extreme volume. Quite a lot of overdrive was achieved. Very rough recording (just a kick drum microphone on the bass cab, no DI) but hopefully if nothing else it shows that the Walkabout can do dirt. https://khydra.bandcamp.com/album/skycrasher

[color=#282828][font=helvetica, arial, sans-serif]1. How long have you been playing your instrument?[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Bass Guitar - 16 years, Double Bass - 11 years[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]2. Do you use an electronic tuner? If yes which model?[/font][/color] [font="helvetica, arial, sans-serif"][color="#282828"]Bass Guitar - Yes, the Boss TU2. [/color][/font] [color=#282828][font=helvetica, arial, sans-serif]3. Do you tune by ear or electronic tuner? [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Bass Guitar - [/font][/color][color=#282828][font=helvetica, arial, sans-serif]In band practice, yes. Playing by myself I tune by ear. Double Bass, always by ear.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]4. If by ear how do you go about?[/font][/color] [font="helvetica, arial, sans-serif"][color="#282828"]I use my ears, listen to the string and turn the tuning pegs with my hands until the string is in tune.[/color][/font] [color=#282828][font=helvetica, arial, sans-serif]5. Are you always 100% happy with your tuning? / if not[/font][/color] Generally yes, though... [color=#282828][font=helvetica, arial, sans-serif]6. Why are you not happy with your tuning?[/font][/color] [font="helvetica, arial, sans-serif"][color="#282828"]Ultimately I feel that I should really have a tech that does it for me. [/color][/font] [color=#282828][font=helvetica, arial, sans-serif]7. What disturbs you about the electronic tuner? [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]The Boss models are bloody expensive.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]8. Do you know how to tune by ear?[/font][/color] [font="helvetica, arial, sans-serif"][color="#282828"]Yes, I don't have perfect pitch, but I can usually get it within a semi tone, which considering I grew up to Hendrix who tuned a half step down, that is close enough. [/color][/font] [color=#282828][font=helvetica, arial, sans-serif]9. What is your preferred tuning method?[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Until I took this questionnaire, the activity of tuning really did not really seem to be something substantial enough for my brain to decide on a preferred method.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]thank you very much for your invaluable support in advance.[/font][/color]

My opinion on Fenders, from £300 second hand Mexican models right up to the Custom Shop models, is that you have to try the actual bass you are thinking about buying. There are absolute gems and absolute dogs at every price point.

You don't see many of them about, especially just the head. I would say about £500 - £700 for the head, and a few hundred more for the combo verson

My Sadowsky Metro has pretty big frets. At least it does compared to my old Precision, which barely has any. It took a bit to get used to if I am honest. I'm not so much sure that the size of the frets matters so much to actual fretwork on the instrument. Essentially I don't think that the size of the frets is a deal breaker for me.

Then I would suggest just getting the first one you see available for the right price, check that it works and then buy it.

I sometimes have my doubts as to whether there are as many 'good eras' and 'bad eras' of Trace Elliot as folk say. A lot of folk have a lot of love for the Series 6 or SMX ranges, the Kamen era GP7 series gets a bit less love and the Gibson era stuff less love than that. Some folk have a 'if it is covered in carpet, it is rubbish' attitude. My own opinion is that given that most of the models have been around for quite a while, what constitutes a 'good' Trace Elliot will often depend on the condition of the actual amp in question.

If you bought it as new then the stock strings should be Vigier strings 40-120. I have a four string Excess. You can pretty much string it with any gauge of strings you want. The neck is designed to be entirely rigid in terms of string gauge changes and tension changes. No need for a truss rod adjustment either because there isn't one. I have had my Excess for over ten years and used it for all manner of tunings (high F standard to drop B )and string gauges (40-95 to 120-50), the neck has never had any issues. Changing gauges and tunings will require you to give your bass a set up, in terms of re-setting the intonation and action. Beyond that though you should be fine.

Westside Distribution (Mesa UK Distributor) are based in Glasgow. It might come to nothing, but you could always try them on the off chance. Beyond that I can't think of anybody I know that has been gigging an M9.

If you already had a HD350, why bother 'upgrading' to what is essentially being marketed as 'the same amp, but ten watts louder'?. Ten watts is almost a negligible increase, so negligible that I am surprised that EBS even bothered doing it. I have tried the HD350, 650 and Fafner. The 350 was my least favourite of the three, although still a very nice amp. Getting a poor sound at the venue could be down to a number of factors. Unless you could simply switch the HD350 back in and see if that made a difference, it could be down to monitoring or changes in levels from any one of the band.

Thanks for the reply Paul. Long time Trace Elliot user here. I look forward to hearing news about new products in due course.

In terms of the SVT line vs ABM line cabs, I would take the SVT cabs every time. I haven't tried the newer Ashdown Neo cabs so can't comment on them. Ashdown ABM head on top of Ampeg 8x10 is a popular combination in rehearsal studios around Glasgow anyway.

I would be interested to hear the input of Paul Stevens to this. I would like to know why there has been no real development in terms of the bass amp .product lines over the years.

I played a gig in Aberdeen last week and one of the bassists in one of the bands was using one. Sounded great. I also saw Corrosion of Conformity a few years back and Mike Dean was using one. Generally, if you can find one and afford one and want one, get one.

I like the complete absence of any 'secrets' in that. A really good watch.

In terms of basses, the serial number is there for a reason. Make a note of it. Other than that, natural wear should be recognisable after several years of gigging.

I don't generally use mine much these days, but it stays in my gig bag for the following reasons. 1. Works as a back up if your main amp goes. 2. Quick and easy set up for recording. 3. It doesn't take up much space.

They are okay, but underpowered for the size and weight. Really they were just amps designed to look like SVT Classics. They will live on for years in rehearsal rooms though.

I prefer the Walkabout to the M-series Mesa heads in terms of old school thump. From the looks of the Mesa website though, it appears that the M3 has been discontinued. The Mesa combos cost a hell of a lot of money. I've had a Walkabout combo for the last five years though and I would consider that they are just about worth it.