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I have been using my Gator ProGo dual gigbag since 2015 with a busy casino circuit band(s), travelling all over WA, and to OR and ID. There is not any tears or broken zippers...it's a tough bag.

When I'm on the road and make any food stops, the bag goes with me inside, I don't leave basses in vehicles.
I like the looks of those rolling hard cases, but I would not find it easy to take in on stops.

jcidulka said:

Thanks for the feedback team!! It’s great.

Feels like SL210 is the route to take, especially if one will not hear the SL115. Maybe one would get more midrange vs low end. And if you increase bass tone to get more out of the 115, concerned about 10” speaker vitality.

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If the tuning is the same for the SL210 and SL410X, the sound will be slightly thicker/fuller overall. Otherwise, AFAIK the tonal balance across the mids and highs should not change in the distance, directly in front of the cab.

However stacking the cabs will reduce vertical dispersion a bit and cause additional lobing across the vertical axis. The number and angle of the lobes will vary by frequency and driver spacing. If you know what to listen for, the lobing is audible at more extreme angles off-axis. For example, close to the rig with the cab flat on the floor.

Adding the 210 will get the top speaker a bit closer to your ears. This will probably help you hear the mids and highs a bit more clearly close to the rig...especially if you tilt the 210 up a bit.

miles'tone said:

This is brilliant information, thank you very much indeed! You've just made someone 10 years in the future very happy, Cheers!!

Milo.

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20 years, 1 month, 3 weeks and 1 day, give or take an hour in the future I am happy to have found this!

Maxi Funkl said:

Zerofive Audio and Broughton Lowtec I use both are great at what they do. Zerofive is simpler to use Lowtec is more versatile. Never tried the others mentioned. But I recommend both Zerofive and Broughton offerings neither is an always on option for me but both maintain a spot on my pedalboards.

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+1 with what Maxi said here - I have both as well and they both sound great - they are really good at restoring low end after going thru a bunch of pedals. Both are on pedalboards I'm using and are on all the time. The broughton's 5k treble cut is def more useful then it sounds ("what bass freq are up at 5k?").

mikeswals said:

I dont understand 1-in 1-out self imposed "rules". At this point if you have 3/4/5 instruments, the 1-something already doesn't nake sense.

Get get the dang bass if you want it. Theres no laws in how many one wants to have.

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PREACH !!

I love how MBD 3 and EBS Sheehan signature drive complement each other. MBD is placed in the clean FX loop of the EBS pedal. To my ears, MBD is on the darker side. With Tone control on the EBS pedal set above noon, the EBS supplements the high end sizzle which MBD is not capable of. The best things is that one can send the sizzle to FOH separately via a DI box placed in the drive FX loop...so that the sound tech can adjust the amount of sizzle by using a fader without changing EQ settings...

Commercial users are currently limited in their ability to participate in discussions of their own products. Is there some way the restrictions could be modified so they could be encouraged to support the comprehensive product oriented threads which are so valuable to members?

Very nice and I'm glad to see they didn't relic that beautiful finish!

rojo412 said:

I've never heard anything change a bass to more of an "Instant Marcus" sound faster than a set of Dimarzio UltraJazz pickups. Even passive, they are very clear and defined. From multiple experiences myself, these get that sound right away.
If it were me in your shoes, I'd start with these pickups. Find a used set for a good price, give them a shot.
If it doesn't get you there, you can always either change to a preamp with them or sell them for what you paid.

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its because dimarzio made a tweaked ultrajazz for sadowsky, infact sadowsky still sells them sepratley under the sadowsky hum cancelling j name, which works because usually the ultra jazz is smaller than the fender and squier pickup size

You're all set. Go get 'em.

tleebassist11 said:

I’m pretty sure a lot if not all of the masterebuilt basses have the Josefina pups. I’ve played a couple and imho that’s the closest you will get to real vintage pickups

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Not to start another discussion but, vintage pickups are inconsistent and unreliable. Most FCS basses I've had sounded better than most vintage fenders I've had. I think the unbeatable aspect of a good old bass is its "feel" , not so much the sound. Good aging is what makes an instrument unique. In a blindfolded test, my 2006 USA Lakland decade feels more "vintage" than my 76 Pbass.

Ampeg confirmed it as 2019 ( L code )

My sleepy eyes read .....SWIMMING- helped -slapping
Yeah build up strength and speed in your thumb!

I have both. Z7 is a MM style bass, it sounds clearer (more treb) and not as tight as Stingray, and the MM pickup couldn't be moded to parallel/single/serial mode due to its small wiring space. Sadowsky MJ5 sounds more like a Lakland bass but with 34" scale. You could make it sound like a real jazz bass or JM bass, but you need know how to make those pickups volume balanced by adjusting the pickup height, If not you may not get that Jazzy tone.

DJ Bebop said:

That was one of Jess’s Powerflex amplifiers with a motorized lift platform. He created that after he left Ampeg and started his own company, Oliver Sound Company.

View attachment 7534068
View attachment 7534069

OLIVER Guitar Amplifier Models

List of Guitar Amplifier OLIVER models with prices, images, and more.

bluebookofguitarvalues.com

Login to view embedded media

https://reverb.com/item/52216734-rare-oliver-powerflex-502-1968-black-tolex-2-x-12-completely-serviced-plays-excellent-256

Reddit - Prove your humanity

www.reddit.com

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Ha... I remember borrowing an Oliver from a music store while between bass amps for a big gig and was surprised when the amp head rose out of the cabnet with a push of a button. Everyone was amazed.. I kept raising and lowering it... didnt take much to pacify me back then.

Awesome, thanks, Andy!

Last time i did it, I used this tool from my kids' pencil cases:

The needle end, of course. Gently, and stop in the right moment.
(I agree that cooling the sofa seems a good idea. I'd put the ice into a bag though.)

Using any chemical cleaner will likely show that the cleaned area is now shining with beauty, rendering the rest of the already nicely aged sofa really dirty. Then, you will have to clean the whole sofa. How do I know it so well, do you ask? ;-)

Just bought a 5er J Bass from Zeline . Delano pickups and preamp . Hipshot tuners and fretboard leds . Well happy . So much so that I’ve orders a Fretless off him .

About twenty-two years ago, a bandleader needed a drummer in a hurry. I recommended a guy I'd worked with before. Total pro. Or at least he had been.

Day of the gig, he rolls in, sets up, everything looks normal. Somewhere between soundcheck and downbeat, though, he took a little field trip.

We kick off the first tune, and something feels... off. Looser than I remembered. Then he misses a downbeat coming out of a fill. Couple songs later, another fill that sounded like it'd wandered in from a different song. Then another bad re-entry. The clams started breeding.

First break, he looked even worse.

Thing was, I'd watched him all break. He wasn't at the bar. Just disappeared into the bathroom for a while.

Oh.

Then it hit me.

Glassy eyes. Thousand-yard stare. Wobbly on his feet. Slow to react. That permanent little grin that says, "It's all good, man," when it absolutely isn't.

Turns out he'd been clean when I'd known him before. This time, heroin had come back like it'd spent ten years planning the reunion.

Second set was held together with wishful thinking. Missed cues. Long, unexplained holes in the groove. By the third set, he stopped playing twice in the middle of songs. Once to answer a call from his dealer. The other because he honestly couldn't figure out where he was.

Not metaphorically.

Physically.

Meanwhile I'm dying inside, because I'm the guy who vouched for him.

End of the night, he's tearing down with three cymbals stacked in his arms. One slips out and crashes onto the stage.

He just stands there.

Blank stare.

Another one slips.

Blank stare again.

Then the last cymbal - and by now your whole job is to just hang on to the one you've got left - slides out, rolls across the floor, and comes to rest a few feet short of my amp.

He looks at me and says, "Uh... I... I dropped my cymbals."

I said, "Don't even f***ing talk to me. Get help, man."

Been using a HPF a lot recently as I’ve got an Anagram now. I just got a new 5 string bass after months of 4 string only, and it’s crazy how much better and clearer the B string sounds with a HPF set at 40Hz. It makes the whole string tighter.

based on the other post, i believe you have replaced the pups again.

g-dude said:

Unfortunately that simply isn’t an option. There’s physically not enough space.

Most of the non-bass guitar parts are actually tuba parts, so regardless I would be playing the wrong instrument on those.

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I do it. (and play tuba). If it's a volunteer band, no pay...tell them to kick rocks, you're playing what you want. As long as it's completely not off the wall. IE: Slapping and Popping during a Gustav Holst piece.

robert_stuart said:

The only Sire basses I’ve seen close up were at Guitar Center. And they all had issues - like maybe scratchy pots or a bad setup. I didn’t look much further.

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I took a gamble on my Sire P5 fretless earlier this year. I had never played a P5 before and I had never seen one at GC. But for $350, I thought that it was worth ordering. Turns out...

Warpeg said:

One of my favorite looks is the late-1970's to early-1980's Jazz Basses with white strat knobs and white pickup covers.

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(From a Google Image search)

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Agreed , I’ve one from 1982 and love the clean contemporary look .