One other thing: before I started playing bass with others, my gear mania was raging, and ranging, far ahead of my actual bass playing experience and ability (I got into bass late, after playing guitar for most of my life). I wanted a RIG, man! I had the old Univox 60-watt tube bass head (two 6L6 power tubes, see avatar pic above) that I’d played guitar through in a prior band. Figured I was set, as soon as I found a bass cab for it. This led me into a few frustrating problems: 1) I ended up with a Peavey 2 x 10 cab loaded with a pair of 10s out of some Ampeg 4 x 10. But I had no bass chops yet, no idea of what tone I was after, and totally unaware of the physicality aspect of getting a tone. So much is shaped by what and how you play with bass...picking approach, muting, developing a touch on the instrument and a range of how hard to dig in vs. turn up but play soft. So everything sounded bad and I had no mental yardstick to judge by anyway. 2) The head sounded pretty “blah” at soft, solo practice volume. It had a narrow range of sounding pretty good to me, about 60-70% turned up, at which point all the ductwork and filing cabinets in the basement would rattle and resonate. And an old-style head with a three-band passive EQ doesn’t give you much ability to get surgical with trouble frequencies—not that I’d Have been able to find any with both hands and a flashlight at that point in my learning curve anyway. I would soon learn that as loud and obnoxious as that was at home, it would have been way undergunned trying to keep up with a 100-warr Marshall and a loud drummer. My old 80-watt Peavey TKO 1 X 15 I got to replace it, humble as it is, is barely adequate if I crank it way up, but is way more flexible courtesy of its more comprehensive EQ controls. It can be tweaked to sound pretty good at any volume level it’s capable of...it just isn’t quite loud enough for my band. Finally, even more so than with guitar, bass sounding good is totally context-dependent. Bedroom tone perfection often doesn’t translate to ensemble tone perfection at ensemble levels. You have to be able to fit in around the kick drum and guitars without stepping all over them. You have to learn to hear the bass as part of a mix, not in isolation. A lot of great bass sounds in recorded music sound great in a mix but kind of weird in isolation. So don’t be in a rush to solve the cab equation until you have the amp in hand and can actually hear it and evaluate.