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mcnach

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Everything posted by mcnach

  1. mcnach
    [quote name='Gamble' timestamp='1460319016' post='3024673'] Just looking for opinions, I'm considering fitting flush mount Dunlop straplocks to my Warwick Corvette $$ (I like them, already got them on 3 of my basses) but not sure if they'd put anyone off if I ever came to sell the bass. Ta! [/quote] I'm not a fan... but they would not turn me off enough to pass on a bass that I liked.
  2. mcnach
    what he said. I used the RS210 cab for a while... not the lightest or best sounding, in my opinion. I'd be tempted to get a MarkBass LM3 head (what you have in your combo) and pair it with a lightweight cab. There are lots out there that would be light and portable, and loud enough as a stage monitor. My favourite rig right now is precisely a MarkBass LM3 with 1 or 2 TKS S112 cabs. They're small and very light (10Kg). They do not have the sheer volume that some other cabs have, but I find it quite adequate. I use one cab as a monitor or for rehearsals with one band, and for another band I often use 2 because I love the extra oomph... and they're extremely portable. disclaimer: I happen to have 2 of those cabs for sale (I have 4 in total, which is overkill so I'm keeping 2), but that's not why I'm talking about them, I'm just a big fan of them because of their sound and weight. Regardless, I'd try a head + cab rather than using the RS210: I had it and I think it's too heavy for what it is. I can tolerate that weight if I love the sound, but I did not. Barefaced make some very loud and compact/light cabs, I like those too a lot.
  3. mcnach
    those dark blue ones with the beige grille look amazing! When I ordered mine, I liked the "V-frame" but I wasn't entirely sure about the cloth covered grille... if I had seen these I'd have probably ordered something similar! In the end I went for the beautiful -yet boring by comparison- plain blue ones: The foldable Wolfcraft trolley makes it a breeze to take them anywhere... although they're so light that I often don't bother anymore. Still, great cart to have around.
  4. mcnach
    [quote name='hiram.k.hackenbacker' timestamp='1460104180' post='3022541'] Personally, I've never had a problem with Thomann, but from what you've said, aren't most of the problems you've had to do with negotiating a discount in order to keep it? Always problematic in my experience. Straight up return would have been far simpler and relatively hassle free. Plenty of other amps that can do the same job, whatever it is that you've bought. [/quote] That's what I think too. Email is never going to be a fast way to negotiate a discount, where you may need a more open two-way communication channel. Try phoning them for that and I'm sure you'll get an answer within minutes, even if it's not the answer you want, If you just want to return it, Thomann makes it pretty easy.
  5. mcnach
    I like this pedal a lot. I find that the tone control is a 'secret weapon' here, allowing you to get smooth overdrive or really dirty gritty sounds, depending. I have used it a lot in the past for low gain sounds too, with the tone control towards the low end, pretty fat and smooth.
  6. mcnach
    [font=helvetica, arial, sans-serif]I got two pairs, yes, two pairs, that's FOUR of these little beauties...[/font] [font=helvetica, arial, sans-serif]I thought that a pair of these ultra light and portable and beautiful sounding cabs couldn't possibly be loud enough, so about a week after I got my first pair I had the chance to buy another pair and went for it.[/font] [font=helvetica, arial, sans-serif]As it turns out, four speakers are a LOT of fun, but it really is not necessary as two of them do get a lot louder than their diminutive size suggests and work just fine for me (and 4 of them kind of defeats the purpose of having a portable rig [/font] [font=helvetica, arial, sans-serif])... so I'm letting the black pair go.[/font] [font=helvetica, arial, sans-serif]Specs:[/font] [font=helvetica, arial, sans-serif]Impedance: 8 Ω[/font] [font=helvetica, arial, sans-serif]Power handling (high average power test signal): 250 W RMS[/font] [font=helvetica, arial, sans-serif]Recommended amplifier power: 150-300 W RMS @ 8 Ω[/font] [font=helvetica, arial, sans-serif]Sensitivity[average]: 99 dB SPL @ 1W/1m[/font] [font=helvetica, arial, sans-serif]Sensitivity[100Hz]: 98 dB SPL @ 1W/1m[/font] [font=helvetica, arial, sans-serif]Sensitivity[max]: 103 dB SPL @ 1,5 kHz, 1W/1m[/font] [font=helvetica, arial, sans-serif]Frequency response (-10db): 46 Hz – 4,8 kHz[/font] [font=helvetica, arial, sans-serif]Displacement: 237 cm³[/font] [font=helvetica, arial, sans-serif]Measurements (WxHxD): 52x38x33 cm[/font] [font=helvetica, arial, sans-serif]Weight: 10 kg[/font] [font=helvetica, arial, sans-serif]more info here:[/font] [url="http://www.bassgear.co.uk/product/tks-engineering-s112/"]http://www.bassgear....gineering-s112/[/url] [font=helvetica, arial, sans-serif]They are very good sounding cabs (in my opinion, which is why I keep one set). They can be used on their side or vertically, as they have feet on both side and bottom.[/font] [font=helvetica, arial, sans-serif]They do not have massive lows when compared to bigger cabs perhaps, although respond well to boosting them at the amp a bit. They have something going on in the low mids that gives them a presence I love. They have lots of definition and sound punchy and full, without getting boomy. I love their sound. I use a Stingray mostly, but also Precisions, and both work really well through a MarkBass LM3 or a Genz Benz Streamliner 900 and these cabs. I actually prefer the LM3.[/font] [font=helvetica, arial, sans-serif]They're extremely light and easy to carry anywhere. I use one of them alone for most rehearsals and as a stage monitor. For rehearsals, placed on the ground, with a band comprising three guitars, drums, trumpet and sax, it was plenty with the LM3 not being pushed hard at all. I used two of them for loud rehearsals (RATM covers band) in a very large room, and they behave beautifully. They'll easily work by themselves without further support in small bars (except in a Motorhead covers band, perhaps [/font] [font=helvetica, arial, sans-serif]. I've played many gigs using a MarkBass CMD121P combo with an extension speaker, and these will work probably as well, but sound better.[/font] [font=helvetica, arial, sans-serif]Anyway, here they are.[/font] [font=helvetica, arial, sans-serif]They are in excellent condition and come with very nicely padded TKS covers.[/font] [font=helvetica, arial, sans-serif]These would cost you £414 each (£369 + £5 extra feet for vertical configuration + £40 cover), so £828 total.[/font] [font=helvetica, arial, sans-serif]I'll let them both go for £550.[/font] [font=helvetica, arial, sans-serif]Great cabs. I just don't need 4 of them.[/font]
  7. mcnach
    [quote name='Beer of the Bass' timestamp='1460061483' post='3022330'] I spent some time modelling boxes with the same driver in WinISD, and it makes sense that the Thumpinator would help with power handing, especially if you go below E for anything. The crazy 4x12" stack looked like a fun experiment though! [/quote] It was a fun experiment indeed! Especially when I stacked them all vertically! So I wasn't imagining it, eh? I tried to find info about the HPF in the LM3 but didn't find much, only that it seems to have a lower threshold than the original LM2, possibly. I rarely go below E. I may go to D (Hipshot X-tender installed in my Stingray, which I use a lot for RATM) but that's about it.
  8. mcnach
    [quote name='bobbytodd' timestamp='1460057694' post='3022273'] well not a good night.the bloody dog jumped up and scratched the scratchplate and the dimarzios don't fit.time for a pint.do fender scratch plates fit? [/quote] The one I got on my J&D was one I originally bought for a Squier VM Jazz. The holes do not align but it fitted. It was a tight fit but it fitted (picture on post 17)
  9. mcnach
    Well, it's decided: one pair of S112 will go away (the black pair). The reason is two-fold: 1) it looks like I'm getting a second Barefaced BB2, so if I need to move some serious air, a pair of BB2 will do a decent job while still fitting in my boot. 2) I found that the S112 cabs actually are louder than I thought at first! More on the S112, since this thread was about them... I'm now pretty much using just the MarkBass LM3 with them. I have used a single speaker several times now, as a stage monitor. So far, every single time I placed it on top of an existing cab (410 everytime). This achieved two things: I separated the active cab from the floor (one of the venues has a horrible hollow stage, ugh... this made our stage sound a LOT better), and being closer to my ears I got a much clearer sound. Happiness. This cab sounds great. With one of the bands, I used a single S112 at rehearsals. The room is largeish and we're not terribly loud but are busy (2-3 guitars, sax, trumpet, drums and myself). I was putting it on top of the 410 combo in the room and it worked... but finally I decided to try it just placing it on the floor, close to a wall. Now, that little speaker was able to put out a great amount of bass for the room. I was using the little board with a bit of compression and a Thumpinator (high pass filter). I understand the LM3 already has a HPF, but somehow it seemed the Thumpinator helped somewhat, sounding a bit tighter on the lows and I was turning up my volume less than I did normally. I love the little S112. So light, portable, and great sounding! Yeah, I needed to boost bass a bit on the amp, compared to using other cabs, but not hugely, and it sounded pretty full. With the other band... large room, LOUD... I used 2x S112. Again, close to the wall, bit of compression and Thumpinator... and I was not pushing the amp hard at all, yet it filled the room very nicely... So I can see myself using the S112 cabs for most things. Small bars with a pair of them will not be filled with earth-shattering low end, but the bass will be felt and heard. They have such great presence! I love them. When things need to get louder (in bigger places or small outdoor parties without PA, which we do play sometimes), the pair of BB2 will take care of things. So a pair of S112s will be advertised for sale here pretty soon, just need to get some pictures taken (mods: I do have an active subscription, I'm not trying to sneak in a sales pitch circunventing the rules
  10. mcnach
    [quote name='bobbytodd' timestamp='1459982316' post='3021581'] bass arrived today.apart from rough fret edges I cant fault it.i adjusted the truss rod half a turn and set the action at 2mm on the e string.no buzzes anywhere on the fretboard. I did change the bridge to gotoh 201 and im changing the electrics to a kiogan loom.I might also put a set of dimarzio dp123 because ive got them.for the price its an awesome bass [/quote] The electrics change is probably a good move as mine started to misbehave pretty early (noisy pots)... but everything else is great
  11. mcnach
  12. mcnach
    [quote name='Moos3h' timestamp='1459960037' post='3021317'] Wow. We clearly don't live in the same town, see the same bands or move in the same circles...most local bands don't seem to cope with the entire concept of tuning, let alone agree to stick to the same one! [/quote] and you're not exaggerating a bit for effect?
  13. mcnach
    [quote name='neilp' timestamp='1459951848' post='3021191'] Ok, I can see you all disagree! No biggie, I'm just a luddite I guess! I do wonder though if the episodes we've all heard of musicians being out of tune on stage and not being able to sort it are a product of the tuner age... Why else? [/quote] I have never met anybody who could not hear their out-of-tuneness and sort it out straight away with or without tuners, as long as they can actually hear themselves. Seriously, who ever gets to the stage they perform in public and they're unable to tune? I think that's a myth.
  14. mcnach
    [quote name='Beer of the Bass' timestamp='1459942947' post='3021064'] Orchestras don't play to small rooms of noisy drunks and they don't have DJs blasting out loud music while they're preparing to go on. So I don't feel bad about using a tuner at gigs rather than doing it by ear every time. [/quote] especially if you use a Pitchblack... you can make it look like K.I.T.T. how cool is that?
  15. mcnach
    [quote name='neilp' timestamp='1459940207' post='3021021'] I don't think that, but I do think that, as a general principle, it's more important to be in tune with each other than with a little green light, and it would be a good thing for a band - any band - to make a habit of tuning up as a band before they play. After all I can go to an orchestral performance with my bass perfectly tuned to my tuner, but what happens if the A from the oboe doesn't match? Do I tell her she's flat, or do I tune to her? It's a skill we should all learn IMHO [/quote] and I would not disagree with that... but having that green light as a common ground, regardless of whether the other members are around or not and the ability to tune silently is just too useful in practice to ignore. We have a trumpet and a sax player in my band... they just ask me for a high G (guitarists are too busy doing... who knows what ) and they're ready to go within seconds... the guitarists and myself use the little green light and it makes things (in my view) simpler onstage.
  16. mcnach
    ah! if only it was the metal grille version!
  17. mcnach
    [quote name='TBBassist2011' timestamp='1459897933' post='3020751'] PM'd [/quote] and PM'd back... on hold for TBBassist2011
  18. mcnach
    [quote name='Cosmo Valdemar' timestamp='1459893483' post='3020715'] That's a shame, it's got your name on it and everything! [/quote] I know! To be honest... I'm a little reluctant. I have the feeling that the minute I sold it I'll want it again, as it's often the case... I'm just having slowly a clear-up of things I'm not using, after recently moving from a 5-bed house into a much smaller apartment... dunno. I took my time to design the functions of this pedal, dang... you're making me doubt already!
  19. mcnach
    [quote name='Alfie Noakes' timestamp='1459892737' post='3020704'] Yes please. PM'd [/quote] and PM'd back
  20. mcnach
    [quote name='neilp' timestamp='1459892995' post='3020707'] If you seriously believe all your electronic tuners give you the same result, there's no hope.... [/quote] If you think that the differences between tuners are more significant than the differences between people's ears, there's no hope...
  21. mcnach
    This pedal is based on the COG Darklighter overdrive, with a few differences and additions. Unlike the original Darklighter this has a blend knob. There is also a level and gain knobs, and the tone is controlled by two filters labelled LPF-1 (low) and LPF-2 (high), which allows you to tweak the character of the overdriven sound from low end meaty to gritty buzzy, all while retaining definition and low end. The overdrive section is in the left of the pedal. There is also a loop that allows you to hook it up to another pedal/pedals.The reason I wanted this was that I often used overdrive + octave, or overdrive + envelope filter, or another pedal, and in order for me to combine both pedals being able to switch them individually or both with a single switch, I used a Boss LS-2. This worked great, but of course it means you need an additional pedal: the LS2, with the additional cabling for power, connections etc. This pedal was an attempt to simplify that. The loop (a simple send/return) has a number of controls. The Level allows you to attenuate the signal to better blend it with the overdrive/dry sound. Mode switches between series and parallel. Order selects whether the overdrive comes first or the loop comes first in the signal chain. This is because I prefer some pedals before overdrive, and others after. There are two switches. The right one turns the loop on/off. The left one is a master switch. Each switch has a led to indicate status on/off. With the loop off, the left switch simply turns the overdrive on/off. With the loop on, the left switch allows you to switch both the overdrive and the loop simultaneously. You can also have the overdrive off, and use the pedal to simply turn the loop on/off. It took me a little while to get my head around it, and quite a few emails with Tom to get the functions just the right way to make operation versatile and maintaining a 'single-button-press' action. I still have the emails with all the details, so I can fish them out and provide all the detailed information if desired. Runs on the usual 9V negative centre power supply. Low current requirement. I love this pedal, but I really have no need for it and new toy-tokens must be obtained... £120 including delivery, recorded, 1st class.
  22. mcnach
    Here's my Bass Soul Food. Lovely pedal but surplus to requirements with my current band situation... It comes with original box, manual and unused power supply. The sticky rubber feet were removed and two strips of heavy duty velcro have been attached to the bottom. The velcro is of course removable, and the rubber feet are included if you prefer to have them on. Excellent condition. I'm sure if I dusted it I could pass it for new £50 delivered 1st class recorded delivery.
  23. mcnach
    Some basses are hotter than the norm, so the so-called 'active' input (which is nothing but an attenuated input) provides a way to not run the preamp to hot and distort (which can sound ugly, but I'm not quite sure it can damage anything with the kind of signals an electric bass produces). It's better when we just have an input and a input gain knob... but hey, we use what we have to. Active basses are not necessarily hotter than passive basses. Most I have tried tend to be just around the same as most passive basses I've tried. My two Stingrays are no hotter than any of my passive Jazz or Precision basses, for instance. The L2000, passively, was hotter than nearly every active bass I've used. The loudest output bass I've owned is this passive Precision with neodymium magnet pickups... Thinking in terms of active/passive is pretty irrelevant in this context. I always use the Passive input if there's a choice, as on many amps the active input doesn't sound very good. But I pay attention to the signal I am using and I know which of my basses is hotter than usual so in the absence of an input gain control... you can often turn down the volume on the bass if it's an active bass. If it's passive that will change the sound... so it depends. The issue is not just with amplifiers. If you use pedals you encounter issues too... some basses produce a signal that's too hot for certain pedals to function nicely. But the vast majority of pedals work well with the vast majority of basses too. I haven't heard of pedals being damaged because a bass was too hot, however.
  24. mcnach
    [quote name='wateroftyne' timestamp='1459605277' post='3018028'] Ah, I meant to mention his ages ago. I noticed the same thing. Very odd! [/quote] True! It did drive me mad (momentarily) on my first Jake. I thought I was going crazy!
  25. mcnach
    [quote name='spectoremg' timestamp='1459574427' post='3017742'] Where does a tribute band get gigs? Considering there already seems to be plenty of them around? [/quote] I was in a RHCP tribute band, although not full-on tribute (we did not try to look like RHCP although we did try to sound like them... or better ). Most of our gigs were very music bars, we also played a few with other tributes (RATM, AC/DC...)... and we did a fair few where we were booked for an event (birthdays etc). It seemed very easy to get gigs once enough people have seen you around. But it does depend on the band you choose, I think. I was in a RATM band too during much of the RHCP period and we got a lot less work.
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