Ghost_Bass

Nobody's talking about that cab? It looks lovely, i would like to know more about it. Looks like a very compact 210 or 208, if they managed to pack the TE punch in that little thing i would be very interested in one.

You can use it's current conditon to lower the price a bit more. Look at it for signs of wood splitting warping and rust on the metalic pieces. If all looks good plug it and see if you like the sound. See if all pots turn well without noise (if they have noise it's another issue to negotiate the price down further more and easy to fix with some contact spray). You might have a good bargain on your hands for the effort of cleaning it up and putting new strings. I wouldn't bother to clean it myself before striking the deal as long as i could pick it up and give it a go without getting dirt on my clothes. You can wear gloves or wash your hands afterwards. If the owner want's it cleaned and setup he should do it himself or pay for that job, if he want's to sell a dirty bass than he has to be prepared to discount the price of bringing it back to it's full glory. I clean all my gear before selling it, it helps a fast sale at a fair price.

[quote name='Grangur' timestamp='1484759468' post='3218212'] Thanks for posting that it's interesting to hear about that bass with the pre-amp. I've often wondered about why I can get Warwicks that ring a clean note. Even in passive mode, the notes ring clearly, where a Fender and many other passives sound mushy. The notes sound fuzzy to my ears. I'm sure that in a band context this doesn't matter and might even sound better, but I play on my own so I want the notes to ring clean. Thanks for that it was good, as well to hear them talking about the reversed P-bass pup. I like that too. Warwick basses use this and maybe that to adds to the tighter sound. In the Herts Bass bash in 2014, the Fender Mark Hoppus won the blind P-bass test. That has a reversed pup, so it seems there are many out there who like the reversed pup. [url="http://basschat.co.uk/topic/238458-herts-bash-2-the-precision-test/"]http://basschat.co.u...precision-test/[/url] [/quote] There are a lot of reversed P's around. They've been for decades. My Yammy BB1000S from '85 has a reverse P and to this time has the most musical (subjective to my ears) P sound i've heard. Oh, and back on topic, it's passive!

Nothing wrong with passive basses, they do the job. Heres why [b]I[/b] prefer active basses: - More signal strength, makes it easier to drive some pedals and some amp's preamps to a fat cristal clean sound full of headroom. - My bass and amp are kept flat, all the sound comes from my fingers and positioning but i tweak them as needed: Amp is tweaked if there's a resonant freq. in the room that needs to be adressed. Bass is tweaked to add a bit of bass in some parts and add some piezzo/highs when the strings start to get old. - EQ'ing my core sound in my bass and not the amp makes sure that the sound and tone comming out of my bass is the same that gets sent to the PA/FOH. - Active basses have less noise and more headroom than a passive bass. Passive basses allways sound too "thin" to my ears. - I prefer the volume/pan control found on actives to tailor the tone. Most passive 2-pickup basses on the market keep using the horrible VVT (at least they could use the better stacked Vol/tone for each pickup option) and if you find yourself in the need of some bass in the middle of a song the only way to get them is at the expense of the highs. - Batteries aren't a issue with a passive bass. The bass will give you warning signs of a dying battery well before it shuts down and allow you time to finish the song (or the gig in some occations). A battery can be replaced in seconds between two songs. Most modern active preamps come with passive operation option and a lot of preamp makers are offering a passive tone control in their preamps. - My bass has the tone i allways wanted to hear straight flat, i can hook it directly to a PA and there's all my sounds available, it has active pickups in so it's impossible to run it passive and until i find another bass with the same core tone that can be run passive i'll keep using it. It' 17 year old and it's been my main gigging tool for the last 7 years and never let me down. - I know every control on my bass and how it changes the sound, i can get a wide range of sounds in a couple of seconds. Most sounds i get are impossible to get from a passive bass without having to walk back to the amp and re-EQ. This is all IMO and IME Jaco&Co. had great tones from their passive basses but it happens that none of them are a tone that i love or want to use. It's all in the mids folks! Cheers

[quote name='blue' timestamp='1484596505' post='3216712'] Not bad, However, it would've have been, must be able to cope with playing 4 hour shows. Keep in mind anyone in Milwaukee with current bar band experience knows all gigs are 4 hours. I don't know if I would list a gear quality requirements because it's an area where I would make exceptions. After a guy learns the show there wouldn't be much rehearsal required. Blue [/quote] 3hr gig was a average out of my head, i didn't know the duration of your gigs. Regarding the gear, i only pointed that as your band could own PA, backline, even a drum or drum mics and that wouldn't be requiered from the drummer. Or, as an example, your set list may involve some tunes that require specific accessories like maracas/congas/etc. and the drummer should own them and be able to know how to use them properly. I'm exagerating on my examples but you never know who you might find, there are some strange musicians around and i allways found the drummers to be the strangest

It's allways worth to put it all for sale on e-bay/gumtree, there might be technicians the may buy even the broken gear for parts, and it's money going in to your pocket. The things that doesn't get sold should go to a electronics recycling bin, not the trash. I tend to keep some old/broken gear in a box for parts, it's been very handy in the past to canibalise them for caps, switches, resistors, wirings, etc.

Tweeters aren't that expensive to fix/replace. I've had the tweeter on my Super12T blow due to excessive DG B3K + W&C TFR awesomeness... I've replaced the diaphragm on the Eminence APT-80 tweeter for less than 10£ of e-bay but it arrived badly packed and a bit of deformation so i knew it was a matter of time until i needed to replace it again. It happened a few weeks ago and this time i went for a complete tweeter to make sure it was all fine. Bought a new APT-80 V2 from thomann for less than 30£. If i was you i would be contacting Aguilar to see if they use OEM tweeters in their cabs and buy a couple of new ones to fix the cabs.

It was around 1999 when i first saw a Yamaha TRB5PII online and felt my first GAS attack. I was just starting college so i was skint and at almost 3000€ it was way out of my league. 11 years later in 2010, having a job and some money to spend, i joined basschat to try and snatch a used one i've found at a very reasonable price. It's been my main gigging bass ever since and i love it to bits.

[quote name='blue' timestamp='1484502316' post='3215926'] Drummer wanted for established [b]rock&blues covers[/b] band (11 years) with [b]weekly payed[/b] bookings. Must ; 1. Be able to gig twice a week, more in the fair & festival season. 2. Have [s]current[/s] gigging bar band experience [b]and be able to cope with up to 3hr gigs.[/b] 3. Have the time, chops, and ability to learn 3 sets of arranged rock & blues material. [b]4. Be available to rehearse [u]x[/u] times a week for [u]x[/u] hours on [u](weekdays)[/u] in [u](rehearsall room location)[/u][/b]*. [b]5. Have own transport and be willing to drive to gigs on a [u]x[/u] mile radius.[/b] [b]6. Have decent quality gear. Band requirements: [u](list of needed gear)[/u].[/b] This is a hypothetical screening ad for a drummer. What do you think? Blue [/quote] This is what i would add Blue, hope it helps. *edited

[quote name='Ghost_Bass' timestamp='1484320579' post='3214679'] There aren't manufacturers over here. [/quote] I should have mentioned that this is in the Bass Guitar field, we have a very old tradition of accoustic instruments building and i do own a Uke bass from a Portuguese builder that is pretty good and sounds great.

[quote name='Mykesbass' timestamp='1484310195' post='3214545'] Nothing Portuguese? [/quote] There aren't manufacturers over here. We have luthiers but i don't fancy a custom build as if i can't get along with it (even though at the time of the order it could be everything i wanted in a bass) it would be a PITA to sell without a big loss. There aren't also amp/cab companies here, the ones that are manufacturing amps do it fo PA purposes or are DIY builders. Same goes with fx units. It's a very small country to build such a niche company when competing with the big boys.

Being born in the early 80's i was more attached to 90's music in my youth so at that time i knew every Nirvana album by heart, first Green Day and Offspring albums and the first couple of Foo Fighters/ Clawfinger/ Korn/ Marilin Manson albums too. Then i became a bass player and shifted my musical listenings to more fields from jazz to funk. These days i can't even remember the correct order those albums were released but i still love to hear them from time to time

Fender Classic 50's Precision, it's MIM but it's one of the best sounding (and looking) P's i've played. Good QC on the 2 that went through my hands. Will also be way below your budget. Can't go wrong with it.

I have no doubt that it's an excelent bass and will play and sound wonderfully but i can't see there enough material/hardware/hand labour that would be worth the price tag. It's another case of Fenderitis... as long as people are willing to pay the price they'll keep selling.

Basses - Japanese, excelent QC and detail, not mentioning sound as its subjective. Amps - British/German/USA, there's a lot of quality gear from these countries, there are also lots of unreliable amps that overheat and/or go into flames...

[quote name='cheddatom' timestamp='1484304830' post='3214470'] this is more of a classic example (the first track off this album) [media]http://www.youtube.com/watch?v=oqFG_cfI-FI[/media] Surely that's funky as funk even though the one is not on the one? [/quote] It would be the "one" if you think of this as a 8 bar. If you divide the bar in 4 then the off-beat is just a pull-up to the "one" but not the "one". I don't have enough english vocabulary knowlege to expand my thoughts further.

"There can be only [b]One[/b]..." The rest are accentuations on diferent times of the bar but the one is allways the one

I've been using my Ovangkol faced Yammy for the past years, i've used it in Rock covers, Acoustic sets, Funk, Soul, R&B covers, Pubs, Bars, Weddings, Formal cerimonies, etc. Never felt it came short of anything or looked like it didn't belong there and all comments i've had about its looks were to say how pretty it is. I would choose a build quality, comfort and core sound that fits my needs any day over lots of pieces of wood glued together randomly and bolt-on to each other without any QC, finished with lots of paint to hide the ugliness and cheap hardware... and don't get me started on the premium that is payed for the waterslide decal on the headstock...

Only way to know for sure is to take it appart, check the PCB for any signs of oxidation that may cause short circuits near the mute area and replace the mute switch for a new one. If you want to troubleshoot the system before buying a new switch you can remove it from the PCB, find out witch tracks are connected when it's disengaged and do a temporary link with a bit of wire. If it still mutes at will then the problem isn't with the switch. If it doesn't come on again for a period then get a new switch. All these advice imply a certain amount of technical expertise, fi you can't do it safely then have someone else do it for you.

Any estate will do the job or a mini-van type car like the renault kangoo and similar. If you think you'll need to carry more than one passenger choose an estate that folds the back seats individually or in a 2+1 type. There are some peugeot partners and other brands that come with 3 seats on the front. I had a ford focus estate that had lots of storage, my current astra estate is a bit smaller but still carries all the band's gear for a venue that has PA, if needed.

[quote name='stingrayPete1977' timestamp='1483717840' post='3209545'] I demand everyone takes their necks off to check [/quote] A bit tricky... ...but doable. Anybody have a bandsaw i can borrow?

Right choice from the OP to send it back. Regarding plek, doesn't it involve a certain amount of relief from the neck/trussrod to be done? Couldn't this be the another possible cause for the issue? In a normal fretted bass (non-plek) the relief can be taken back in order to lower the action, in a pleked bass it won't be possible as moving the truss will mess with the fret hights. Maybe the bass has a construction flaw or maybe the plek service done (and charged) by the store wasn't done properly. In any case the bass has to go back and be fixed/replaced.

In adition, i bought a new Sandberg some time ago, standard bridge, i could lower the saddles enough to sit the strings on the frets. Never should have sold it...

You shouldn't have this problem with a Sandberg, they have great QC but some lemons may get through. Hopefully they have even better CS so the best thing you should do before messing with the bass and voiding your waranty is to get in touch with them (facebook or use the contact on the site) and they'll be happy to help you. They may also clear things about the store charging you for the plek service and would apreciate the information.

When using a A/B/Y / LS-2 / etc. type of solution you can't EQ each bass independently, there has to be a master EQ on the amp and then fine tune it with the bass's own controls and sometimes you can't get the sound you're looking for. Best thing is to have a way of using two separate preamps, one for each bass.