40hz

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?

Then I send them on their way quickly. With regards to anyone who answers the advert but finds the Instument 'not to their taste', I've never had this in 20 years of buying and selling. People who have bought my basses etc, all know what they're looking for and are not looking to have a play on a random instrument to see if they like it. Being honest with descriptors also avoids any surprises with the bass when they do come to view.

I got a lot of love for the Kiloton. Great value bass and as I've said before, IMO, the only Stingray-alike that actually sounds like a Stingray (if anything a little nastier!).

Stuart Zender Krist Novoselic Kim Deal Flea John Taylor Dirk Lance Bruce Foxton

1 - they state they'd usually sell these for around £800? Absolutely laughable. Market value on a good USA SUB is anything from £450-600 (I couldn't sell mine when it was up for £500). 2 - BD have always been a bit overly optimistic with their condition ratings/description. I live about 20 mins down the road from them and have popped in a few times. The used basses are rarely as good as described, condition wise. This isn't to rail on them too much as I have bought from them many times, and they are a great shop. We should be grateful to have such a specialist of their ilk in the UK.

My particular bugbear is basses that have been "Upgraded". No, what you mean is modified. Ban it, please.

I had the K210's and they were *Excellent*. Clean, clear, punchy and uber composed at volume (I found anyway). The K series used Lavoce drivers, which I believe were a big upgrade over the BC series, which used basic Eminence drivers. I genuinely preferred the k210s to the Vanderkley MNT210's I had. Not even for the money - they were better full stop. IMO, YMMV etc

True. I don't disagree. But if it filters one silly billy out, then it works for me!

A phrase I still use. As I'd rather not have any time wasters. It informs people you won't be too tolerant of tyre kicking.

I was looking at the Apollo model at $949. Works out around £650 in £. Seems awfully cheap?