LukeFRC

yep - that took my by surprise when my newest bass came from germany

[quote name='TraceAmp' timestamp='1388685332' post='2324840'] My english isn't so good... [/quote] wife is a german teacher so between her and google translate I'll work it out!

if only I could get a status bass like mark king uses...... oh wait a mo!

there's a difference between the prices they are advertised for and the price they sell for. For a standard JV p bass in that condition I think £500 would be optimistic. [quote name='spacey' timestamp='1388497296' post='2322648'] They are a lot appearing, they were a £129 brand new in the box bass sold at most music shops. They got put in cupboards and forgotton about . They were reasonably well made on a par with the latest Squire deluxe range's. Someone decided they were ultra rare and the price rocketed, this has lead to people digging out the cheap beginers bass from the loft or back cupbaord and they are hitting the markets by the thousands and mugs are grabbing them thinking they are really worth £1000+ They are not and as they are hitting the market place in bulk now the word is out the price will fall back. They were the beginers Christmas bass of the day and they certainly sold in quite large numbers at the time, As folk who long gave up playing dig them out of lofts and closets, every one that hits the market knocks the price down as people work out that they are not as "rare" as first thought. I have had the odd one here and there, they play OK, but I would never dream of paying more than a nice USA Fender precision price for them. Like all bubbles, it will burst. [/quote] The first ones are ultra rare and exceedingly good instruments. It's interest in the rare ones that pushes the prices of them all up. I'm not sure how many you've played but IMO would rate the quality of the early ones, esp the neck, up with USA standard fender today. The American vintage reissues are nicer (esp the pre 2013 ones, I like them) but the JV is closer to the original in both feel and sound. Will the bubble burst? Well not the the Fender logoed ones, and when the roundly considered as "a bit crap" early 80's Fenders seem to go for £1500, The Fullertons for £2000+ and late 70's ones for more... £600 on a JV squier isn't that bad. Are they all good? nah probably not- SQ range are probably better value for money, or E series.... the japanese necks are brilliant though.

[quote name='TraceAmp' timestamp='1388678655' post='2324718'] I collected all that [url="http://www.stoffer-net.de/reviews.html"]preamps[/url]: There are some good preamp for less money. Look at ebay... [/quote] right onto translating your reviews!

[quote name='BetaFunk' timestamp='1388620119' post='2324219'] You mean every thread should end on post #84? Fascinating. [/quote] or Beedster is saying I should have the last word? I dunno, my other half wouldn't agree with that!

tried emailing warwick direct? they are pretty good with the replies

[quote name='thisnameistaken' timestamp='1388193304' post='2319444'] You know you'll only get a limited sound from flatwound strings, so why not just put them on a cheap passive bass instead of a vintage P? Here's my thing: I've got a Korean Squier Jazz that I put LaBella 760FLs on, and replaced the tone pot with a push/pull that will put it in series (and replaced the tone cap with a .1uF so it'll do reggae), but yeah, with the tone wide open it's got a genuinely perfect soul tone, can't imagine anything ever sounding any better, and so I wonder: Why does anybody spend so much to get that sound? [/quote] what makes you think that anyone took ever their flats off the vintage P in the first place? isn't that where the funk it? Seriously- you've got a bass with flats you like the sound of - great, I'm pleased for you. But unless you're willing to sell that bass so other people can appreciated it then why knock what anyone else sticks their flats on? We're all after a decent tone - how we go about it, and how much it costs to get there, doesn't matter. As another thought..... There's a trend on Basschat at the moment where people knock anyone or any idea that costs a bit more than the cheapest option - it's doing my head in - lets just play the damn things, get excited about stuff and stop getting so hung up about money. Some cheap Squiers are great. So are some Ritters - get over it. Oh and I don't care what you think of the paint job on barefaced cabs and don't have any strong opinions either way on the beatles. Yeah it will probably be good for metal too....

[quote name='funkle' timestamp='1388094641' post='2318550'] Anyone have any thoughts at how the Simplexx 1x12" with the Kappalite 3012LF would compare to one of the fearless f112 (also based around 3012LF) designs sonically? The greenboy design is 3 way (crossed over to a Faital M5N12-80 and either the Eminence APT80 tweeter or Faital HF102 compression driver), and I assume would require a more complicated crossover due to that. The f112 allows for tilt back monitoring as the cab is shaped a bit like a monitor. I assume it gives up a little low end because I guess the internal volume is reduced due to its shape. Is a 2 way design intrinsically better than a 3 way design? [/quote] I've been asking this question too... but with the 12/6/1, but the F112 has same tweeter (the APT80) as simplexx... I know which one would be cheaper to build!

I had a BB, sold it - now have another. They are great basses that don't seem to have much secondhand value - so while assessing the "trade in value" of your BB realise that the real world value is probably 4 or 5 times that...

oh - you either read that and acted on it very quickly or two minds think alike

stick up a wanted post- it will get some preamps out in the open...

[quote name='LawrenceH' timestamp='1388362854' post='2321314'] I'm not sure this is the thread for this but I'd happily discuss it more over PM. As with the tools, there is a price differential with drivers between the US and the UK that makes the Eminence more attractive over there than they are here, in my opinion. [/quote] I'ld be interested in hearing your driver wisdom too.... (edit- but not in this thread about Bill's designs obviously) I've been looking at some eminence based designs and wondering if there are better drivers for the cost this side of the pond...

[quote name='0175westwood29' timestamp='1388351347' post='2321172'] dnt get me wrong i love pedals but ive paid probs like £1000 without including the bass to get to where i am kinda dnt want a £80 di box like a sansamp. would be up for trying the emulated cab, to see if it helped but id run into it with a di not inbetween cab and speaker. not meaning to sound angry or rude btw. [/quote] and I'm not wanting to be rude.... but you run the whole thing through a £5 cable... it's not about the money.... want to improve your bands sound - spend £2.50 a gig and buy the soundguy a coffee for the soundcheck....

[quote name='Monckyman' timestamp='1388329334' post='2320788'] This is IMO just another "I don't trust the engineer with my finely crafted delicate bass tone.man" Unless you have your own engineer with whom you can explore bass tones and their context, ie your band, you are going to have to trust the house engineer until you do. You can help out buy [b]providing a good di tone, for example a sansamp or similar[/b] with your tone set up already on it, rather than rely on the houses ancient behringer d.is,or take your feed from your head post EQ ( not something I'd recommend as the EQ you use for your speaker cab will almost certainly not suit the P.A requirements). If you really want a mic, ask for a mic, but dont be surprised if you don't get it, as unless you have a very specific cab tone (yes of course you have don't you?) it will be widely regarded as a luxury by hard pressed engineers. Pre mixing a mic and a DI into a cheap noisy behringer £40 mixer completely defeats the point of trying to get a better tone to the P.A. All IMO of course. [/quote] actually a really good idea there - forget what I said. If I were you I would do that. I'm not you mind! In terms of fitting a bass sound into a wall of guitars... for clarity I would go DI every time over a mic ed cab. And it will open up ideas for you... split your signal, blend in the low end clean or overdriven with the fuzz sound ontop, or whatever you want - you can create monster tones and know that the PA will be able to make it sound awesome - and fit into the mix in a way your amp and cab never could. the pedal you're using isn't a hard build on vero, make 10 of them for the price of a decent microphone to mic your cab.... that's my 2p

someone I know in wakefield is selling the little 60 watt EBS combo if that's of interest can get you his details? (he's not on bass chat so hope not breaking rules here)

[quote name='andydye' timestamp='1387913019' post='2317203'] I've decided to sell a load of gear and raise the budget to allow me to buy the orange rig! [/quote] not tempted by garath's Trace V6?

[quote name='0175westwood29' timestamp='1388257242' post='2320123'] i did see something about a grounding issue with this as using this with a class d amp like my orange? it was mentioned earlier in the thread, something about speaker outs not being earthed? andy [/quote] yeah someone said that.... ground not being true ground on a switch mode power supply.... makes sense I guess. but for what you want you could just use it in the effects loop, DI to desk, link to the return.... the "tone" of your amp will be in the preamp so no need to capture the power amp side

looks genuine, replacement scratchplate though....

looks great! Wee thing I found... obv. warwicks use oil finish which you then wax... well I used to use beeswax.... really sticky after a while... bought a tin of briwax a few months back.... works great and a harder surface too. There are other blended waxes about that would probably be as good/better. Oh and interesting fact... Diet Coke is better for cleaning metal than normal coke.

I'll start by saying I'm not sure how big venues you are playing here.... also in my exp the sound guy is either going to want a DI signal straight or if he/she does mic your cab they will want to use their mic and be able to control the balance of the two signals... so say you do mic up your amp with a SM57, your amp's going to need to be loud enough that the mic doesn't pick up any drums.... but quiet enough that your stage volume, both individually and as a band isn't too loud... a tightrope.... When I was talking about Eq I didn't mean the hand/bass/pedals/amp side of it - you know what you're doing there.... what I meant is that your speaker cab will be adding it's own Eq to the sound. For instance something fancy like a barefaced Big baby will have quite a flat response and lots of high and low end, a bit like a PA speaker, a Ampeg 810 fridge will have a smooth roll off of the low end but it won't go as low or as high, my current cab has a massive punchy 6dB peak at about 100Hz that makes it punch and kick like a mule..... your speaker cab will have it's own sound - this is what the difference is between your DI signal and what you're hearing.... that's the problem that IMO IME you would be best trying to solve with a simple solution.

[quote name='LawrenceH' timestamp='1388153853' post='2318930'] I have been critical but I've tried to be balanced - the Jacks I built were very good for a certain type of electric bass sound with excellent low-mid clarity, but unusable for PA IMO regardless of EQ, with piezo option at least. One thing worth bearing in mind when sizing up the BFM designs as a novice is that the build prices just don't translate to the UK, unfortunately (same applies to any DIY design). Especially true if buying tools - the cheap stuff you get here really is unusably awful, but in the US the equivalent price range seems to be much more acceptable quality and their pro stuff is less than half the price it is here. I had a lot of fun with demonically possessed circular saws, in particular... [/quote] useful info (the tool info )

most mixers will give a balanced line out....which is more or less the same as a DI out... In my opinion you're going about this wrong way.... a 57 in front of your cab would work kinda... but would be harder to mix, a pain for the stage volumes, and therefore give the sound guy less control over the sound (i.e. the band sound, not your sound) - the ideal from FOH sound is no amp sound/stage sound, and your mix via IEM and the only audible sound being the FOH. the monitor mix is a compromise and so is the amp sounds... guitar amps are a pain as they are so directional and most guitarists seem to have way too big ones for what you need. (Micing up a [i]good[/i] 5w amp isn't a bad idea btw....) So if I were your sound guy I would possibly think micing up your cab wasn't the best idea.... So lets look again at the problem you have.... you have the mesa pedal into the orange amp.... and DI'ed the fuzz sound doesn't sound right in the PA... So the sound you have comes from your bass.... into your pedal.... and into your amps preamp.... and out to DI or out to the cab.... so the pedal, preamp and bass sounds are getting to the desk.... but - what's the difference between your cab sound and the PA sound? My guess... as it's fuzz... there's way more high end in the PA - whereas your 410 is rolling off way earlier - making a fat fuzz and fizz. The easy way would be to work with the PA guy to take the top end off your signal (which shouldn't be a problem), and make sure he's not scooping the mids... otherwise some way of Eqing the signal to roll off the top end that goes to the PA would work...