The Last Bass Outpost

I'm actually jealous of this one.  Can't wait to see her cleaned up.

Where's the impedance transformer? Is it the round metal thing that is bolted to the body?

Definately that. Not the same model but they look like this:





And Rhiino, forgot to mention it earlier but the model is likely a JT-DB-E with optional mounting bracket. Or a very similar custom part.

That bass is dreamy.

I suppose I shouldn't be surprised, but I am.  It's just that they've really gone to some length to not call "redesigns that only look like the original"  reissues; often even using something other than the original model  name (which is why I have no issue with the SG Bass not having an actual mudbucker - this whole thing was amazing business sense on their part). But here, not only did they call this a reissue, but they were sneaky about the pup impedance thing, and stressed the whole 'just like Les' guitar' thing -  I think they squandered something very valuable here.  And for that much money, too (though if you're rich enough to grab one, for 2K more you coulda had Les' actual LoZ pups installed). I don't even wanna see a bass version.

You're confusing/conflating proximity reinforcement and directivity. While they are related, your mess of an explanation is just technobabble and actual science all mixed up. There is no such thing as "Baffle Step Effect." I do not dispute the science of proximity reinforcement or wave directivity, but your understanding and explanation are pure BS.

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Did you try googling it?*  Don't confuse my attempt to explain something without getting too mathy or technical-jargonny (one of your vices) with BS.

I will admit that I did mix in some boundary reinforcement talk in there, but that was as a method of compensating for baffle step  - anyone with decent English comprehension skills not rushing through it could understand that.  

I'm not  gonna argue with you about it (and not only because you've fallen into a habit of starting with some sort of ad hominem, but because any time I make a point you pull some cop out about how you are above this sort of thing - like last time when you confused bandpass and transmission line enclosure types and I called you on it; just logical fallacies with you).  Everyone here knows how to use google and can check for themselves.*  Plenty of pages with the math around.  

* sometimes known as Baffle Diffraction Step; not to be confused with Baffle Edge Diffraction, which is something else entirely (and  is one reason I skip the 'diffraction' part of the phrase, as some people do)

/peace out

maybe they make them disposable because there just aren't any people out there anymore who know how to work on this stuff. Same reason there are PLEK machines-allowing unskilled people to do a luthier's job, while charging more money.

Except that any major city has plenty of people qualified to fix amps.  Maybe not 'guitar amp' techs per se, but the guy at the local used hifi sales/service place will do just as well.

I know 1 guy who supports his family (and has for years) with gear repairs (tube, point to point and solid state/pcb stuff).  He works out of his house and he's the best guy in town (nice dude too).  I think he also takes in all serious repairs from one used shop accross town (that their horrible tech can't handle) and works one day a week as the 12th fret's in house guy.  His prices are insanely good (when you got to him direct) because he's lightening fast (just really knows his stuff) so the hours are low. I was very pleasantly surprised at the cost for him to go through my 16:8:2 console, and I always take my tube amps to him.

Then there's the local vintage Hifi guy (almost as good, but more expensive... and a little weird) and at least 4 stores (one a multi-location chain) that will repair stuff, but I have no idea  about their quality of work and pricing (except one which I refuse to name or go to anymore since their tech put a Traynor Super Custom Special on the floor with an under-rated fuse, so that when I rented it it died before I hit a note... and then when I called he told me to just go get the right fuse at the hardware store like what he'd done was no biggie - what if I first fired it up at a show, after stores had closed?).  Then there's all the pro audio/studio support guys some of whom  also take amps and other things (but would likely not be cheap), a guy who designs/builds pedals and is known to do repairs, my recone guy (who also does amps, mostly PA stuff, but is too far away for me to use vs the other local awesome dude) and places like Teletech - I don't know what they'll work on, but I assume more pro audio stuff (too far for me to go there for repair). 

That said, some of the disposable stuff might not be worth working on and techs might reject it,  but I don't have anything with SMDs (aside from a pair of passive stepped attenuators made by hand by some dude in Asia that I couldn't resist due to price - actually good; SMDs make sense herebut I have no idea how the dude does it - with a loupe and very carefully) but some techs have mentioned that caveat when I brought them things (not about SMD specifically, but just, in general - other problems could be proprietary chips or sealed modules; think Standel's epoxy-potted stuff etc.)

Anyway, the reason is profit, not lack of techs.  But it is a bit self-perpetuating maybe in that techs might not work on the stuff.

I saw yer post and knew the Grand Funk guy wasn't Barry Oakley - I'm not into GFR so I had no idea what that dude used.

Queue a disparaging comment about the youth today from Uwe.