40hz

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?

The K-Series cabinets are excellent. I had two 2x10s stacked vertically for a while and gave me a superbly composed tone that could get up to stupid volumes.

You'll be fine. The Super Compact is rated at 600w max. The BH800 will put out around 450-550w at 8ohm impedance (you'll only get the full 800w with a 4ohm load connected to the amp).

Not to sound negative as I actually think these look alright but the question I'm asking is "where have the corners been cut?". Carbon Fibre/Graphite necks are notoriously expensive to produce and even harder to get right (in terms of quality and tone). IMO in the 40 years or so since they've been a thing, only Modulus and Status have managed it.

The BH550 is 550w and the BH800 is 800w. Otherwise, absolutely identical.

I've used a BH550 since they first released about 5 years ago. It's seen off every other amp I've bought in an attempt to get something considered a bit 'higher end', including the ubiquitous Little Mark 3 and GK mb800. Tonally, without using any Toneprint, it's all about being super clean and clear, delivered with strong authority. I'd describe it as giving a studio like sound, in a live setting. Exhibiting no mush on the bottom end or mid-range. I should also add that it is extremely low-noise/well shielded. I don't get any background hiss or static and the fan is whisper quiet when it kicks in. It's extremely loud and I've never had to push it to get the necessary volume at open air gigs etc. The EQ points cut and boost at different frequencies (really useful when playing at venues with terrible acoustics). Toneprints are truly superb (especially the Spectracomp) but if truth be told, it's a bit rubbish that you can't mix two together, and can only have one active at a time. The headphone socket and aux inputs are great additions that I find strange a lot of modern amps still aren't adding. I've probably played 60+ gigs on it with not even a hiccup or issue of any kind. At that price it's ridiculous value for money.

Laughable.

What did Marshall even do with the brand beyond the Terra Nova Series? (If they weren't already a thing before the buyout).

Another great name mothballed into irrelevance. The WTX I had, had one of the best core tones I've ever heard from an amp.

I can only speak from the point of view of my Mesa Boogie M-Pulse 600. One of the most valvey Hybrids as it has a tube in front of the power amp section (as opposed to just the pre-amp) It's got a very noticeable, lazy, muscular tone to it. So much more width and presence than any Class D I've owned (not looking to open that can of worms). The quality of tone from this thing is so far ahead of anything else I've owned or used, it's scarcely believable. So unless Mesa Boogie made it from some magic juju, I'm putting it down to the valves. In short, there are good hybrids out there that will get 'that' tone!

Yes, it states on the website that they do. I fit a fretted Status neck to my USA SUB and it was as snug as a bug.

Nethertheless, however you spin it, I've seen hundreds of other 'well done' Bass Covers that don't even have a tenth of the views. More power to her, but her playing in general isn't something that stands out amongst the countless myriad of others on the platform. As @Nibody suggests, I strongly suspect there is the slightly creepy/sexual element at play here, as evidenced by the comments section on her videos.

I wasn't talking about specific tracks. I was talking generally?

Devil's advocate here. Does her playing really set her apart? I've seen hundreds and hundreds of bass players of different shapes and sizes playing equally as well if not better in many cases? What does she do that's different?

Nailed it. My pet YouTube hate.

Agreed. Can't stand that gurning idiot.