brensabre79

No problem with mine, top handle for wheeling about. Usually one side handle for carrying. The top handle also stops my amp falling off the back - not that it moves. Although i did do one gig on a shiny floor and the entire cab made its way toward me over the course of a few songs Never hit my shins, or my shines for that matter. I had a small issue with the original handles and the rubber breaking up, but a quick call to Alex and I had a new set of handles.

As it's a discontinued model your best bet would be trawling through eBay for one, or maybe an old cab with one in. @Phil - read the post again. The speaker isn't original

I think EMG make a single knob active tone control. [url="http://www.emgpickups.com/accessories/bass-accessories/tone-controls/exb.html"]Here it is[/url]. But I'm not sure it's exactly what you're looking for. It's quite limiting for an active circuit to have only one parameter to adjust.

+1 or Oli Foxen, I think he and a mate have started making custom amps from the guts of old ones too. I asked a while back about a rackmount 200w (to go on my S12T) but he never got back with a price. but he's not on here much these days. Get hold of him through the Facebook page: Search: 'Ampstack' on Facebook I too am interested in something new and commercially available (rather than a custom 1 off). I contacted the guys at Carvin about developing such a thing a while ago. they do a Steve Vai model all valve guitar amp in a lightweight, compact package. they said they would look in to it, but due to the larger transformers required for bass amps it might not be viable...

Nice thread. I gather you're not 100% after the Stingray sound, but some of it's character. I think the impedance of the original Stringray pickup [u]combined [/u]with the insane pre-amp the pre EB ones had is responsible for that sound. My Pre-EB is a Sabre, so has a slightly different pickup, but i think the Pre is the same - and it has a crazy amount of treble boost which I never use all of. Seems like you're getting close with the Wilkinson pickup, you could try adding an Artec 2 band EQ (they are really cheap - and not bad at all quality) to see if that does it for you before you go spending on custom pickups and pre-amps.

[quote name='Annoying Twit' timestamp='1411480270' post='2559892'] The drowning in guitars youtube poster seems to be able to get good sounds out of his Soviet guitars. https://www.youtube.com/watch?v=Y7mM2j-jM7k https://www.youtube.com/watch?v=kN-zsb0lyHE&list=UUzLRpB_ThIJ39wmgfBozASQ I think it would be interesting if there was a guitar (or preferably bass) which had passive pickups and a modular removable block for electronics. You could remove the electronics (including knobs) and swap them for something else. Then there could be a variety of electronics blocks that you could attach to give you entirely different sounds and control setups for different types of music. [/quote] Didn't some of the Shergold basses / guitars have this feature? The Modulator i think...

It says 'no time wasters' so I suppose asking for a picture of the rest of it is going to be a bad move. I probably won't bother. i wasn't going to offer a penny of £95,000 anyway.

In a blind test most people are pushed to tell the difference between the behringher BD121 and the Sansamp BDDI. However i would personally recommend the DHA VT-1 for dirtying up. the behringer is great for a clean valvy preamp like tone though.

I should add. A dual concentric pot for volume tone might be tricky to do properly because you need a different taper. Fender might do one for the stack-knob Jazz basses, though they will probably be 250k (single coil) and ideally you'll want 500k for humbucker. In all honesty though, I would just drill the hole and have a conventional switch. I imagine you've already had to make a hole for the extra pickup anyway!

Loads of diagrams on the net. [url="http://www.guitarelectronics.com/media/img/guitarelectronics/W650-H550-Bffffff/W/wd2hh3t11_00.jpg"]Here's[/url] one. Ignore the North Finish /South finish part for he P90, it should just have the two wires. (the humbucker may be wired internally so you might just have the two wires from there too.) Just be wary of the type of 3 way switch you use. The Les Paul style ones require a much bigger hole than a pot. You could try a micro-switch (on-on-on) or a better fit would be a 3 position rotary switch instead,[url="http://www.ebay.co.uk/itm/KCX2-3-2P3T-2-Pole-3-Throw-Single-Deck-Band-Channel-Rotary-Switch-/191197452030?pt=UK_BOI_Electrical_Components_Supplies_ET&hash=item2c844196fe"] like this one[/url] but wiring would be slightly different for that type.

[quote name='gjones' timestamp='1410552158' post='2550792'] The Stratosphere has many Fender necks. Keep an eye out for one from a 70's Classic. They come up from time to time and are usually about the £200/£250 mark including postage. [url="http://stores.ebay.com/The-STRATosphere/Necks-/_i.html?_nkw=jazz+bass+neck&submit=Search&_fsub=2&_sid=105525814"]http://stores.ebay.c...&_sid=105525814[/url] [/quote] [url="http://www.ebay.com/itm/Vintage-USA-74-RI-Fender-Jazz-BASS-NECK-TUNERS-J-1974-Reissue-Maple-Pearl-/191325433398?pt=Guitar_Accessories&hash=item2c8be26e36"]http://www.ebay.com/itm/Vintage-USA-74-RI-Fender-Jazz-BASS-NECK-TUNERS-J-1974-Reissue-Maple-Pearl-/191325433398?pt=Guitar_Accessories&hash=item2c8be26e36[/url] but $800+ plus import taxes!

[url="http://www.allparts.uk.com/collections/necks-for-jazz-bass/products/replacement-neck-for-j-bass-solid-maple-w-finish-w-binding-block-inlays"]Allparts[/url] do a Fender licensed one. Quality is good, but profile might be a bit chunkier on the blocks & binding ones though as they are based on a '73/'74 4-bolt.

[quote name='KiOgon' timestamp='1410861559' post='2553898'] I'd say a new pot is the only way! You could spend hours faffing with glue & bodges [/quote] +1

I did a similar thing with mine a while back except the series parallel was simply a dpdt on the volume control. I wonder if aving two volume controls as well as a pickup switch will cause frustration. It's really easy to accidentlly turn the bass off. i.e. having neck pickup volume down then switching to neck pickup = no sound. What I did as have Master volume, a 5 position switch (with preset variable resistors to balance) and tone control with a push pull on the volume to put the two pickups in series (which over-rides the pickup switch). the added bonus is no need for an extra hole to be drilled into your bass! Heres the switch wiring - just add tone

I have, it's in my P at the moment actually. It used to be in my Jazz, but swapped it for an EMG BTC (also concentric pot) because you can tweak the frquencies. I don't think it's any different apart from the concentric pot instead of 2x non-concentric. But I haven't used the SE-2... just SE-2A. plus it will fit in a Jazz with no mods so you can always revert to passive in future...

Get the SE-2A it has stacked bass and treble pots.

Used to listen a lot, are they still going? you should check out fragile state if you like them. Z7s keyboard player was 1/2 of fragile state.

Well, anything designed for a Jazz bass would go in there I reckon. I've tried J-Retro, EMG, Artec in my Jazz basses. They are all different so it's down to personal taste really. I think the East (J-retro) has three stacked pots if thats your preference but I found it a fiddly thing for live use personally.

Well I don't think it's age / generation specific. But it does remind me of a similar experience I had. We were booked to play a small outdoor event. At all stages running up to it we were lead to believe we were the only band and as such would need to provide our own PA, backline, lights etc. this is normal for our function band so we thought nothing of it. Arrived to find a load of musicians hanging around. It turns out they had all been booked to play too, but they were told that PA, backline and drum kit would be provided. It quickly became apparent that WE were the ones providing them. It also transpired that whoever was organising this thing was notably absent, nobody knew what was going on. We were shown to a corner of a marquee with a single 4-way extension lead (running across the field into a nearby pub) and two flattened cardboard boxes as a drum riser. I was fuming to be honest. I ended up being the festival sound engineer as it was my PA! However, I couldn't hold anything against the other bands (dreadful as they were) because they had been told everything would be provided. We eventually tracked down the individual responsible - who was quite drunk by then and basically said "well it turned out alright didn't it?" We politely cancelled all future bookings (3 at the time) with him on the spot. Molan, it may be that the young bands had been told the same without your knowledge... Still, he should have said thanks though! (edited typos)

If DR's are lasting you about 3 gigs I would recommend Elixir's to you. I also used to use the Bootsy Collins signature DRs, but they wouldn't last much longer, I tried their XL coated ones too. I started on the Elixir Steel as i react with nickel in a way that turns the strings black. I didn't like the tone of them so I now use the Elixir nickel, the coating protects them, when i see black on the strings i know the coating is worn out. They last me about 6 months (20+ gigs)

Get the same cab again, you'll get more mid/top end from having it higher up if you stack them. Mixing driver sizes can be done, the results can be variable (good / bad) unless the two are DESIGNED to go together.

That Burman is sweeeet Guts of my Alphabass - during valve change / service. only took it for reference so apologies for the quality Must take a better pic!

I replaced my Shuttle with a Carvin BX500 - they have stopped making these, but introduced a slightly upgraded version. Best amp of this type (Class D) I've owned and waaaayyy louder than my 6.2 despite being officially 100W less power. Much more versatile pre-amp too in my opinion as it'll do the Hi-Fi clean of the Shuttle or the growly dirty drive of the Streamliner. They also do a more powerful model with the same pre-amp in case the stadium in the next town needs to hear you too. Worth checking out.

Yep the Palmer looks like a good box. I have the Markbass Super Pro DI, but essentially the same thing in a yellow box. The only thing you might come up against with these is the power handling of the DI box. i.e. you may have to turn dow the master vol. on the amp to avoid distorting the DI - this may mean the amp is quiet on stage. Also, if you turn the amp up for on stage monitoring, be mindful that this will turn you up out front, and the engineer will have to compensate on the desk gain. Similar with EQ on your amp - make a change and the engineer has to make a change. An experienced engineer will probably know this already and as such may be reluctant, unless you assure hi that once your amp level is set you ain't gonna turn it up when you can' hear yourself... i should add, that when I have used a mic on my bass amp I have also used a DI from the bass (the usual way, not after the amp). most of the time this DI signal makes up the majority of the bass sound out front. So get the DI box by all means, but be prepared for some resistance from in-house engineers. Especially if you're on one of those 3 or 4 bands doing half hour sets type of nights. I've been on the other side of the desk for these many a time and it's like organising a school trip half the time. Some tone junky with a 40 year old amp that he wants special treatment for is likely to add to the stress - meaning it's not going to get much time spent on it. As an engineer I'd probably stick a mic near it and use the DI signal, nod, smile, thumbs up, "OK thanks, rhythm guitar please"

[quote name='Simon.' timestamp='1408352593' post='2529162'] The guitiarist in one of my old bands used to use the 'wrap it tightly round your elbow & tie a knot it in' technique on his cables - despite being shown multiple times the right way to do it. And yet, could never work out why he was having to buy new cables every 6 months, whilst I was happily using ones that were 10 and 15 years old... [/quote] +1 I now have a policy regarding the PA (Yep, me too) that nobody can touch one of my cables until they have learnt the above technique. The downside to this is that some of them have simply not learned a thing and as a result sit chatting while I set up / pack down the PA. The upside is I don't have to spend sunday morning untangling them all and most of my cables are still going strong after 20 years. The guitarist (who cannot even look at my stuff by the way) generally gets his tangled ball of cable at the end of the night and just throws it in his Asda bag, has to buy a new lead every couple of months. Keeps getting more and more expensive ones in the hope they will last longer. Mine are all homemade and considerably cheaper. Just looked after!! Ive started taking the ones he bins home, finding the fault and making patch leads out of them