eude

Alan at ACG has used a P Retro with two pickups on a few of his basses, by adding a rotary pickup selector switch, would surely work with a pan/blend too, perhaps you could try something like that?

I like it!

[quote name='Musicman20' timestamp='1383911912' post='2270678'] If its a single guitarist through a moderate combo or small 2x12 setup, with drums, vocals, etc, then yes. It's a very capable cabinet. Very capable. [/quote] Thanks mate. I used to get away with a single Aggie GS112 most of the time, just wanted to check

[quote name='Musicman20' timestamp='1383911621' post='2270672'] If anyone would like to speak to WoT about a trial of the 12/6 in Newcastle area, then I'm happy to pass it on etc. I've had a great time using it. Fantastic cab. If I didn't buy the Genz NX cab in the sale I'd be seriously looking into a TKS. [/quote] You reckon a single 12/6 would hold its own in a rock context with a powerful enough amp?

Very clever!

Sounds great mate

Thanks dude

Nice set up mate. Whats the low end like on the 12" cab?

One piece of advice that I think is VERY important, is to be sure you find a comfortable nut width. I've had a few customs now, 2 of them 6 strings and I had to let the first go as the nut was a bit too wide for my small hands. I went from 57mm to 52mm and I'm much much happier with it. I believe Warwick 6 strings and Ibanez Soundgear 6ers both have 52mm nuts, so might be worth seeking one out to see how it suits. I tend to play in lower register, around first position most of the time, more of a groove player than a soloist, so being comfy down there is VERY important. A bolt-on single cut will likely give a more familiar tone than a set or through neck one, but no point getting into that discussion (argument) here, its been done to death a million times. Both my 6 string customs have been bolt-on single cuts. I have a bolt-on single cut 5 and a set neck single cut 5 too, and I certainly prefer the response of a bolt-on. I'm not sure the single cut shape does anything special bar looking nice in my opinion, but a bolt-on single cut will have a slightly more compromised access to the upper register than a set/through neck, I prefer the sound though, and I'm not a solo player, so I'm happy to make the sacrifice. All my custom basses have been/are 33" scale, again as it suits my small hands. Some players go for this as you say, for soloing etc. I personally don't think 35" scale is worth it anymore, especially if you're bass is being made by an experienced luthier, but if I was a bigger chap, I'd probably have 34" basses, just to make life easier, the higher register is a little sweeter with the shorter scale though. I would also make sure you give active preamps some thoughts, as with the extended range, it can be useful to help balance things out a little. If you're going with Overwater, the SDS preamp made by John East is set up to be as transparent as possible, so that might be worth considering. String spacing at the bridge, I'd just get something you're used to, but don't get too hung up on it. I've got a variety of basses, 16.5mm, 17mm, 18mm and I find I settle into whatever I'm playing quite quickly. I do find that my finger style playing is faster on the 16.5mm spacing though, especially when crossing strings, but its not a huge deal. Wood choice, weight etc. Again, potentially an unending argument about this stuff, but bear in mind if you go for heavy woods you will end up with a VERY heavy bass as there's a bit more wood involved compared to a 4 string. Any good luthier will be able to advise you on choices, and there's methods they can use to negate the additional weight. I don't think I have anything else to add, but feel free to shoot me a PM if I can help mate, and if you're ever in the South London area, you're welcome to have a shot of my ACG basses. Eude

I agree, the spiraling costs of Aggie stuff is making it unattainable for regular folks. Their stuff will always be on my bucket list, but the TKS cabs are now on my "must buy" list

I think its a gorgeous looking thing, and I'm personally glad that Fender aren't making yet another slightly different Precision or Jazz bass. I personally don't care where its made either, I've seen and heard of plenty badly assembled, poorly finished Fenders come out of America, "made in China" doesn't speak of the quality of a product, instruments have been getting made there for decades. This thing is about £700, right? When I first saw it I expected it to be over £1000. I'm looking forward to trying Matt's at the Moffat Bass Bash next year after he gives in and buys one

Looks and sounds lovely, great work mate!

That all sounds very nice mate! The Shuker Jazz I used to have was lovely. Looking forward to seeing this finished

[quote name='wateroftyne' timestamp='1382014771' post='2246697'] Challenge accepted It's out on loan at the mo - when I get it back I'll have a shot and report back. [/quote] Thank you mate!

[quote name='wateroftyne' timestamp='1382014520' post='2246690'] That's one of the great things about them - clear in an upper-mid kind-of way. Ceramic vs. neo - difficult to tell. I've used the single neo 12 quite a few times, but it's always been with PA support. I'd need to use them at a backline-only gig to tell, really... [/quote] OK then, looks like you've got more homework then (sorry...) Eude

[quote name='wateroftyne' timestamp='1382013485' post='2246663'] FWIW, my 112's would absolutely own a small rock/jazz/funk gig with regards to volume and headroom. To be honest, a single cab would probably suffice. I have absolutely no experience with the Aggie SL's, so I can't comment on them. [/quote] Just listened to your demo a few pages back there again, and the Jazz Bass tone you have is wonderful, just enough grit and high end to bring out aggression without being harsh. I actually think I could live without a tweeter these days. You may have already been asked this, but can you notice much difference between the Ceramic and Neo versions if you've managed to AB them? Eude

[quote name='Musicman20' timestamp='1382001030' post='2246459'] Now this shows that it is possible for a small company to have stunning fit and finish, as well as building an excellently designed cabinet. [/quote] + at reasonable prices too I'm certainly smitten

[quote name='TG Flatline' timestamp='1381336345' post='2237838'] Hey Eude, For something that simple the LS-2 would be a cheaper option honestly. Sure I'm probably not supposed to talk my way out of business but for purely blending clean back in with your existing dirt the LS-2 will do the job just fine. Check for anything that will invert phase though, in which case either a unit from me or the Xotic would be good options! Cheers :-) Tom [/quote] Hey Tom, thanks for chiming in, much appreciated! I'll look out for a secondhand LS-2 then. Cheers, Eude

I've been thinking about getting a blend pedal of some kind, basically to just mix back in some proper bass tone when using effects, mainly dirt. Was looking like the LS-2 was the only option, but it's kinda complicated as all I need is A/B volume, even a sinlge pan or blend knob would do it and an on/off switch. Reckon it would be worth talking to Cog, or would it end up more pricey than just getting an LS-2 and ignoring everything else it does?... Cheers, Eude

[quote name='bassist_lewis' timestamp='1381323328' post='2237546'] I've seen the MPBs, very interesting. How steep is the headstock angle on an ACG ? [/quote] I believe its 15º as standard on ACGs, or at least it certinaly was when I originally discussed it with Alan when he built my first ACG back in 2009. Obviously, the Graft and J Type basses have a non angled, i.e. more Fender style headstock, but string retainers can be used to improve the break angle on that kind of design anyway. Hope that helps!

[quote name='bassist_lewis' timestamp='1381263902' post='2236782'] [url="http://www.callowhillbass.com"]http://www.callowhillbass.com[/url] Short scale 5 string bass with a low B. The builder (Tim Cloonan) claims that the B string is excellent (slight bias) as does its co-designer, ex-Roots bassist, Owen Biddle. Somewhere on FB Tim Cloonan puts it down to the break angles at the nut and bridge. Kind of related is the subject of Inharmonicity, which is where the harmonics of a note are not an exact integer of the fundamental (eg non-tuned percussion is made of a lot of inharmonicity). Inharmonicity increases proportionally to string diameter (not quite as simple as that but as much as I understood) and is inversely proportional to string length. So getting a heavier gauge B string to compensate for a shorter scale will actually increase inharmonicity :0 in moderation it adds warmth to a sound... but I haven't a clue how much is too much :S Still, someone believes it can be done [/quote] Having heard Owain's stuff, the low B on his basses certainly sounds amazing, would be inetersted to see what it feels like! The OBS model is insanely expesnive though, but Callowhill are doing a cheaper bass based on some of the same principals, a kinda P Bass style thing called the MPB, they start at $1950 with a passive jobby with a single pickup, with upcharges from there. There's more details on the Facebox page, the Callowhill website is always behind the times a bit... I spoke to a guy at length who has a Nordstrand 6 string 30" Bass with a low B, a one off. He said that the break angle at the nut was the most important thing, so the headstock angle on his bass was steeper than normal, the construction was also through neck with a lot of Ebony in the neck to keep the wood under the "speaking length" of the string as stuff as possible. Ulimately, I think most good luthiers would be able to put something together that would get you a resoanable B string. Owain Biddle has a fairly light touch, which will certainly help get the best out of a shorter scale B string. The 33"ers I play are close enough to 34" as far as feel goes, and as I mentioned before, you can always compensate with going up a gauge in strings, making a 30" feel like 34" might be a bit trickier. My vote still goes for ACG Eude

[quote name='Ghost_Bass' timestamp='1381159637' post='2235151'] I had one along with the combo. Sold them to a friend and ended up buying another combo recently. I believe my friend has his rig for sale right now, if you're interested i can try to find out how much he's asking for it with shipping costs. [/quote] If he doesn't mind splitting the rig, that would be fantastic mate! Thank you Eude

Before someone says I should put an ad int he "Wanted" section, I already have. I'm just wondering where all these cabs went? Quite a few folks on here had one at some point, mostly along with their P5110 Combos, which all seem to have moved on, and away from forum users too. I've tried contacting Ibanez, tried distributors and it seems I'm too late to find one. Does anyone still have one? Does anyone know anyone who has one? If so, I would REALLY like to pick one up at some point. Thanks for looking folks. Eude

The 2x8 would be a pretty good home practice and gigging combo, it's pretty small and is the only one where you can hook up an extra cab. I think the only thing missing is say a 2x8 extension cab, or maybe a 10" sub that would sit snugly underneath...