40hz

My problem with multiscales is, they are, to a bass, all ugly! IMO, etc, etc.

Agreed. My Stage One was the grindiest, grittiest bass I think I've owned!

As an update, I've also turned down the trim pot inside the Bartolini NTBT on my Flea from about 65% to about 30% boost. Still getting dirt when the Wampler is engaged?

Hi all, A quick one here. I've just purchased a Wampler Ego compressor pedal (the full fat one, not mini) and with all controls set at noon, there is some definite distortion being added into the mix that only increases when I boost the sustain (which is annoying as I bought it due to its more coloured squish it's capable of). I've also tried completely turning off sustain and attack, and when you sweep the blend from dry to FX, it starts to add harmonic distortion. Not wild amounts, but a noticeable 'hair' all the same. It's a brand new battery in the pedal, is this normal? Edit - I should add this is using my Modulus Flea and going through the FX loop of my TC BH550.

I'd imagine a narrow vertical stack like that would have great dispersion too, giving a more even sound in a venue? I see GR also do a 2x8 also, wonder if these are any better than the TE's? Drivers seem to be rated slightly higher (for what it's worth).

This was my thinking, the drivers in the cab are supposed to be some of the best out there (for their size). I'm not looking for out and out gut wrenching power, just an appreciable bump over what I have. Which is great as it is to be fair, but finding a matching series 1 ul210 would likely prove difficult.

Hi all! Having recently picked up a regular gig with a functions band (who regularly play larger venues), I'm not entirely sure my Epifani UL210 is going to be enough. Although they do use a PA, I do like having the thump in my back and the ability to step up and provide the power if there are any technical issues. Been looking at some modular set ups and really like the look, weight and portability of these cabs, so with that in mind, is anybody out there using 2 of these in a stack that could comment on their performance in a live setting? Can they really deliver deep bass and punch? Would it be much beyond what I already have? Edit - my amp heads are the Mesa Boogie M-Pulse 600 and the TC BH550. Thanks in advance

Thank you, Andy. Makes sense! As an aside, if anyone is wondering why the the G-string seems close to the edge of the neck, she currently has a snapped nut!

A real shame. Sims were/are probably the best paint shop in the country.

I'd prefer the blue, if it was a solid colour. Doesn't work for me in a translucent finish. Red wins this one!

Hi all, Just wondering if anyone could tell whether the finish on my bass is poly or nitro finished? I would have said poly, but where I have a small chip on the upper bout, it seems to have some sort of cellulose type white material poking out. None of my poly basses have ever exhibited this with dinks etc. I know that the Classic Series came Nitro finished for the Roadworns, and poly for the non-roadworn (as this is). Many thanks in advance, you fine people!

I've had a fretted (and now have a fretless) Status graphite neck on my USA SUB. They're phenomenal in quality and construction. They basically turn everything you like about a bass, up to 11. Added benefits of tuning stability, clarity, harmonic content and growl.

From Oxford we have ; Radiohead Supergrass Foals Stornoway Ride Glass Animals

First two albums were absolutely stunning, after which, they turned into a toe-curlingly awful and anodyne pop group and dive-bombed off a cliff.

I'm going to go seemingly go against the grain here and say that I try to avoid any form of fanboy-ism. I guess I have a preference for Warwick basses but am very keen to avoid going overboard with adulation of any brand. See the Ernie Ball forum for examples of when fanboy-ism goes wrong.

Sort of similar to you, but I went in reverse! I had 2 Vanderkley MNT210 cabs (the diagonal ones you speak of, the vertical array is the LNT). And chopped them out as it was overkill for my gigs. I found an Epifani UL210 on here and bought it in place of the MNT. Truthfully, I find the Epifani a better cab. It is louder, can go lower and has a really sweet upper midrange tone. YMMV, IMO etc. The Vanderkleys were, tonally, massively even and full ranged. So much so, I felt it robbed them of a bit of character, although I appreciate this is a desirable thing to many.

TC Electronics BH550. Fits all your criteria and is as clean as it gets, tone wise.

I've never had an issue with signature basses. I treat each bass on it's own technical merits. Quite often Sig basses offer something you can't get elsewhere, spec or finish wise. I would never rule any instrument out on grounds such as "it has someone else's name on the headstock" especially given nobody in the crowd is going to remotely know who that person is, what they're looking at, or 90% of the time, what a bass player is. I had a Fender Geddy Lee Jazz bass because of the shaved neck, upgraded pickups and block inlays (not offered elsewhere at the time under £1000). I had absolutely no idea who Geddy Lee even was! I've also owned the Fender Marcus Miller Jazz Bass, purely for the 70s spacing, pre-amp, and finish. Again, I don't really listen to his work and I'm not into the solo bassist thing. Finally, as many have heard me croak on about over the years, I've had a few Modulus Fleas. No other bass sounds like one of these and owning a Flea is the only way to get that sound. People will say Status necked Stingrays do, but nothing could be further from the truth. I had one and it doesn't even get close to the Fleas idiosyncratic tone. Plus when a bass looks like this, it is always a talking point at gigs . . .

Such sad news. 59 is no age to go. RIP MB1 and my sincere condolences to all family and friends.

Stingray, by a wide margin!

*Dons facetious mask* If you could get a sound sample, there are some members who should be able to clarify for you. I'll get me coat.

If I could go back, I'd have put most of the money into a proper amp & cab. I'll never ever forget the sensation going from a my first practice amp (50w Torque?) to trying out an Ashdown ABM with a 4x10 about 3 months into playing. It was biblical. I think a proper amp would have done more for the tones I was trying to get and inspired me a lot more.

I know what it's about! It's the comparison in the song title.

Turning Japanese by the Vapors. Always makes me cringe a bit.

Didn't Cort do something very similar to this for their TM Stevens signature bass?