Muzz

Love that fretboard. Luckily, though, I have no GAS for the very top end stuff - dunno whether that's me or my my bank balance talking...

On the other hand, I found the Streamliner sounded much better than the Terror heads I tried - no floors wiped this end!

It's a massive oversimplification, but if you want it in two camps, the Streamliner sound is nearer the RH450 (tho deeper, warmer and much less compressed), and the Shuttle is a more comparable amp to the LM. I had a LMIII before either the RH450 or the Streamliner, but you can see the sound I was after by the progression of amps. I should say I'm very happy with the Streamliner.

[quote name='Mark Dyer' timestamp='1391425633' post='2356884'] One rehearsal will be plenty of time. Allow about four hours for a 2 set weekend covers band. Don't spend all this time running through the songs though, you will need to dedicate at least 1-2 hrs deciding on a new band name as the current one is sh*te, sharing YouTube videos with your band mates, Tweeting, FB, setting up your huge effects pedals board and drinking beer/tea. This will give you some natural spontanaity on the gig night as each song will become an adventure, you will sound edgy and dynamic as opposed to dull and plodding. The worst that can go wrong is you forget where you are and every other song comes off the rails like a runaway train. [/quote] And this.

[quote name='chris_b' timestamp='1391175935' post='2354148'] How good are these players? If it was just me depping in an existing unit then I wouldn't need any rehearsals. If it is a whole band then 1 rehearsal max. Everyone should know their parts when they turn up and the rehearsal should just be to "top and tail" the numbers and play through once. [/quote] I'd go with this.

I went from a RH450 to a Streamliner (and owned a couple of Mesas at the same time/in between), and I'd say if you like what the RH450 is trying to do in terms of a voiced, older-school tone, but you want more warmth and bottom, then the Streamliner would seem to be your friend. As always though, if you can possibly try them first, do so.

I had a Roland Micro Cube for a good while - not giggable, but great for in the house - MP3 in, headphones out, tuner, loads of sounds and effects, even a drum machine. Can run off batteries, too. Corking amp.

Yep, all good - well explained and not patronizing at all. I suspect Chrissie has issues...

[quote name='BetaFunk' timestamp='1390674066' post='2348247'] That depends on what your local is like. Down my local i doubt if anyone would even notice. [/quote] I wouldn't like to try and carry a tray of drinks across the room in your local then... The Soul Train Line Dance is one of my best pick-me-ups: it's impossible to be morose watching any of them...

Fascinated by this. Thanks for the effort.

Jim Dunlop Nylon 88s here...for about the last 35 years, tried and tested

[quote name='Roger2611' timestamp='1390240868' post='2343045'] I have now owned and sold 3 stingrays, I still love the look of the bass I just don't get on with them....maybe if I found the right one...... noooooo see I still want one [/quote] This. Exactly this. And the one about a 4001, too...

The Schroeder 1212, 1210 and 1515s are a good match with the LM heads. I had a LMIII and a 1515, and a friend gigged a LMIII and a 1212, both are great for rock/punk tones, tho I found I needed a Sansamp pedal to put some SVT-like aggression into the amp. The cabs are just the job, though.

Mine's a keeper - I love the string tension, the light weight, the spread of sounds with just a passive four-way switch and a tone control, and I switch between mine and my regular 34" basses all the time and never notice. The only time I notice the frets is if I'm doing a lot of work down the first three frets (that nut-to-first-fret on the E is a loong way ) or if I'm right up in the nosebleed frets - 15 and up for me. If you do a lot of chordal stuff over fret 15 you might have to readjust your technique a little, but otherwise it's all positive for me. I only play a 4, I'd imagine the 5s make even more sense - I've played a Dingwall 5, and the B was fantastic, but 5s aren't for me. The build quality is second to none, I've never had to go anywhere near the truss rod (and I'm a fiddler) and the attention to detail is superb. Oh, and Sheldon Dingwall is a gent who has given me some top quality customer service in the past (there's a thread on here about it somewhere). If you can get down to Bass Direct, Mark has the largest collection in the world, and if you don't like them after a visit there, you never will. Was that a bit gushy?

Not that I'm aware of - there used to be a dealer on the South Coast somewhere, but they closed. I got mine from Sweden. Edit: there you go: SHX, that was the one I was thinking of. Also, they don't make (AFAIK) the smaller angled-baffle cabs like the original 1210L any more - they've gone a more 'traditional' shape.

Having spoken to a chap who works for Fender last night, apparently the corporate plan is to "integrate the Genz technology into a new range of Fender amps." How well that'll work remains to be seen.