Muzz

If it was the amp, it'd fail to produce the lows all the time - if you're getting them some places, then there's the possibility you're getting reinforcement from the environment, but then I'd think you'd experience booming more than that, anyway. Those traveller cabs are relatively small and rear ported, which is something to bear in mind - they aren't exactly designed for big lows. I'd try one or two different cabs before blaming the amp. When you're lacking the lows, what happens when you dial in the bottom end on the TH?

[quote name='catmanhog' timestamp='1473679878' post='3132145'] Really pleased with the responses so far! I have mostly played with a Japanese jazz bass - had custom shop Fender 60's pick up's installed about 2 years ago. I am aware that the jazz has less growl than a P, i do prefer a jazz in terms of sound and feel. Play mostly with a very compact 4 piece, volume wise it never struggles but at times there is very little bottom end - again, reputation of the Jazz perhaps but given the random rooms & circumstances, the alleged reputation of the TH500 & Markbass cabs....it just seems there should be more! Don't want to go crazy with the volume and make matters worse. Bass wise, i am rolling off / blending treble and pick up's to suit the songs. [/quote] Soooo, is it 'punch' (which most people consider higher up the sound spectrum) or the bottom end you're missing? Does the bottom end fill out if you use just the neck pickup? Which model of MB 210s are they? Do you walk away from you amp while you're playing to hear how it's projecting into the room? Does it always sound the same (good or bad) in a particular room, or is it all random?

Before the pitchforks-and-torches gather too readily*, I'd also look at the 'at times' thing from the OP - were there any common factors with the lack of 'punch'? We've all been in rooms/halls/tents where we've needed to re-EQ (boost and cut) to cope with the environment, and some places are just a nightmare. If this was all about Class D (which is the way the thread's gone disappointingly quickly) then it'd be apparent more consistently? Something to consider, anyway. That said, I recently played with a TH500 (one of the few common heads I hadn't tried) and found it wasn't for me. The Walkabout definitely had more going on. But then I think the Magellan has at least as much going on as the Walkabout... * And yeah, we've all got our preferences, personally I've A-B'd an awful lot of Class D and bigger, heavier heads and there's been winners and losers. Cabs are a big factor, too.

If you've got an iPad, then a Sonic Port, Jamup Pro and headphones and you're done for about £80 (less the iPad). It's what I've used for ages, and it's great.

Yeah, but put an SVT on top and think of the kudos you'd have turning up (eventually) with a rig with its own gravity...

That's lovely - the neck is sublime. Ooooo, a Bigman, that's two of us on here with one - I've got one in my Shuker with a coil tap/parallel switch - they're a fantastic pickup. Very nice, congrats...

Pino's trombone fretless parp, and Mick Karn's chorused hoohah...love to listen to them, would never use them...

I mute a fair amount, and play pick with the heel of my hand on the bridge, and I always preferred the Schaller 3D for comfyness, but I've also got an A, and that's pretty good, too.

If you're using a mix of modern and vintage, the Genzler Magellan has one of the widest tonal palettes I've encountered, and the two channels (plus two filters) allow for very quick changes between them without a hatful of fiddling.. A ton of grunt, too.

I use a laptop-focused rucksack, ideal for getting everything in - I've had mine years. And yeah, front and back openings are no good for a Streamliner...

Had a Do for my 50th acouple of years ago, big function place with a stage, got a lot of my friends there, a lot of whom are musicians, sooooooo...yeah, I played it. Even bigger bonus, all my friends chipped in to the Shuker Bespoke Build Fund, so I have a fantastic bass bought largely by my friends which, obviously, I'll never sell...

I don't fancy anything on the site, it's the quality which interests me - it'd be a custom build: something different, but still a copy, using hardware I already have..there's a clue in my avatar pic...

[quote name='wateroftyne' timestamp='1472987053' post='3125741'] He's just an extremely busy guy, who probably receives squillions of emails. I miss emails sometimes too. [/quote] Yup, that's why I'll try again...

Ooooo, that's lovely...love that song, and it strips down beautifully...

I work for an ISP and run hundreds of email accounts, POP3, Exchange and now O365, so I know how this works. I'd sent it from the same account as the first time this happened, because that time when he finally got back to me it was because he'd been busy, not a spam issue. He may well be busy, but as a business he's clearly not 'extremely good with emails' if he's missing out on work because of his email system. I'll try again.

So there's no Out Of Office response possible on the company email system? FFS...

Out of interest, what's the normal response time for an email to these guys? I sent one with a query about a custom build about a week ago, with no response yet. The same thing happened a while ago, I mentioned it on here and got a response after that. it might just be me, but at this point I'd settle for a "Dear Sir, get stuffed, yours sincerely" - at least I'd know...

Nobody's mentioned Thunderbirds yet...34" scale, yet that first fret can feel like it's in a different postcode... Still one of my favourite basses...

I play with a variety of dep drummers, and the very good ones have all the gears, and a great sense of dynamics, not just within a song or set, but to the venue/environment as well. The very good ones don't need a smaller kit or different sticks to do this.

That is a thing of beauty...I love Jon's work...

I've yet to be in a small pub where people could talk over a drummer playing...it's gotta be too loud. Are you all setting levels which sit comfortably with an unmiked drummer?

I'd echo the advice about better ear protection, you can't really spend enough on that, given that very very very good (moulded) protection comes at the cost of a couple of pedals... It does sound very loud for pubs, tho - the starter volume is usually the drummist: is he a one-trick monster, or can he play with a little more, erm, sublety? If the former, is he miked and going through the PA? That can start a volume war escalation... I find smaller stages mean closer proximity to the drummist and the cymbals, which are the killer for my ears. I've mentioned this before, but I bring an angled amp stand (which I no longer use) which I selflessly offer to the guitard, and use it to make sure his combo/cab is pointing at his head. They're always happy, and never suspect my ulterior motive...

I've had three (IIRC) and they were all good. One had very very slightly raised fret ends (nothing a fret dress wouldn't have sorted completely), but the other two were completely fine. For the money, they're the best I've come across.