Sparky Mark

I'm not sure all the happy owners of LH500 and LH1000 will totally agree with that statement. Stu was shown in front of HA7000 heads in the adverts back then.

Likewise and for full disclosure I have two Fender artist models. The first is a Mexico Reggie Hamilton jazz bass that I bought when I was looking for a PJ configuration and had no idea who RH was. It's the best Fender PJ that I've owned or played to date. The actual signature is tiny and practically invisible on the rear of the headstock. The second is a CS Pino that I bought when I wanted a USA fiesta red P with rosewood board. I would've happliy bought a USA standard model if one was available, but there wasn't. Other than his early work with Paul Young on his fretless Stingray I have no hightened interest in Pino's playing. If the instrument has the features I am looking for, any endorsement is purely coincidental. I'm kinda sceptical that many players actually believe it'll transform their playing abilities but might just encourage them to practice a lttle more if they are a fan.

Some BCers say they wouldn't want to own an artist/signature bass. Why is that please?

Yes, the middle pickup has more definition than the plummy neck pickup.

I bought both versions of the Ignition to help narrow down which pickup configuration I might prefer if I ever go for a German model. I much preferred the 61 both ergonomically and tonally. Both pups are usable on their own and together whilst the 62 bridge pup lacks too much bottom end for me.

You'll see on these EQ graphs that there is a fair amount of overlap on the hi mid and hi controls which work on more than just the stated centre frequencies. I doubt I'd hear any difference with my tweeterless cabs if the hi control only worked at 10k Hz.

Exactly right. We start with Squier and end up with Custom Shop or the real real pre CBS Fenders. The cheap models are a decent introduction to see whether the design is for you, then you pays your money and takes your choice.

Great score, congratulations. I saw that at BD for a really good price but I managed to resist. The Markbass proprietary 1000 watt power amps are amazing by all accounts; you won't be lacking any heft for sure. Those graphic EQ frequencies are the same as on the Momark 7 band module which are fine, but on a gig I tend to end up with an almost flat profile. I reckon you'll notice more of a difference between the SS and 12ax7 preamps at volume on a gig. I really really hope you continue to like it so it doesn't appear on here anytime soon!

I think the HA7000 was only produced in the days when mosfets were used in the power amps. I've still got my HA3500 from the 90's and it sounds better to my ears than the newer bipolar transistor model.

Amen to that.

Agreed. That's why I posted a photo of the Music Group/Tribe Turbosound driver used in the BG250 210 combo.

The companies that you mention employ R&D staff whos costs need to be recovered through their sales. Other companies may be able to cut corners and reduce their overheads but their products may be compromised as a result.

You may well be right about it being a faulty unit but I'm not aware of a situation where higher quality isn't directly linked to price.

Impressive!

We need photos, please.

This thread reads to me like another perfect example of "you pay your money and you take your choice". For a pub gigging amp the noise floor is probably irrelevant; if you want a high quality studio amp then you likely already know £300 won't buy that.

It's very possible the current availability of this amplifier, along with many other products, is due to the shortage of components caused by the covid 19 pandemic, many of which are now on much longer lead times.