BassTractor

Uli Behringer has announced a US$ 1,000 price today, but used both RSP and "MAP", so this is not entirely clear - but at least we now know the ballpark we're in. Would I buy a 1,000 quid analogue Super Juno above a 600 quid digital Blofeld Keyboard? Not likely. But I do know that many, many others would.

Anyone know when Ashdown started to build the MAG stuff? Anyone know how efficient the oldest 410 cabs were? My own 410 from 2011 or so had 101 db/1W/1m, but I suppose Ashdown have been using different drivers through the years. Thanks! Bert

You can colour me impressed and intrigued for now. Yes, it did start out as a Juno 106 clone before feature creep reared its ugly head. Now it's more like a Super Juno, with a special type of PWM on DCO2 (see ani-gif below) and not only oscillator drift control but also a separate drift control for other parameters. Also, you can choose between different types of curving for (I assume) attack and release (though this may go for decay as well), and the list goes on and on. If this is a Juno, then I stopped hating Junos today. [url="http://s1170.photobucket.com/user/basstractor1/media/Behringer%20DM12%20display%20ani_zpshd580tu3.gif.html"][/url] Mind, it's still a traditional machine with limited range, and it's probably not really the instrument for me, but if it's cheap enough, I might just add it to my other synths. I think it's quite usable in a mix, also because of the perceived quality of the built-in effects.

Behringer teaser #6. http://www.youtube.com/watch?v=3nqiEj7StYI

If it's only AC/DC you're talking about, there are good, cheap step-down transformers for that! Sorry. Couldn't resist.

[quote name='BigRedX' timestamp='1470183985' post='3103971'] Why do musicians now salivate over the Juno sound? Back in the early 80s when these were new no one would have bought a Juno if they could have afforded a Jupiter or a Prophet 5. [/quote] I've long tried to understand this... without succeeding. Right now it seems to me that it's especially people creating electronic dance music who find the sound usable. From comments I read on ze innerwebz I conclude it's basically not the synth engine but the specific character of the original Juno's built-in effects that does it. Me, I can't stand it, but then I'm not very tolerant of cheap, simple synths and their ghastly pads. There! I said it! That said, apparently the DM12 is capable of a lot more than a Juno is, with its flexible modulation routing and some nifty tricks. It's reported to be a weird one, this, combining advancedness with simplicity in sometimes weird ways. Sounds intriguing to me. BTW, according to Uli Behringer the desktop does not exist. He seems to state (he's good at that) they're only thinking of maybe making one.

[quote name='Froggy' timestamp='1470162307' post='3103767'] Head is a Hartke HA3500 and cabs are a Hartke TP410 and Hartke TP115 The head has 2 x 8 ohm outputs, each of which is plugged into the 8ohm input on the cabs. I'm guessing that's correct? [/quote] Yes. Both 115TP and 410TP are 8 Ohm cabs, and the HA3500 will deliver to the 4 Ohm result load of connecting two 8 Ohm cabs. Though: I'd bet a considerably substantial amount plus huge parts of my life on the outputs being wired in parallel, as in coming from one source only (as opposed to bi-amping). In case you can just connect the first cab to the amp and the second cab to the first cab, which seems a little neater to me. I believe this is what you English lot call "daisy chaining". Happy to be corrected on this, after which all bets are off.

[quote name='govons' timestamp='1470054832' post='3102918'] yes I know that is great amp, that's why I want to keep it. It would be nice to use both cab but I do not want to risk, so I prefer to be safe if there is nothing to insert as a protection [/quote] Chris just told you that it WILL run at a 2.67 Ohm load (unlike the TFB550). You do not need any protection. In fact, adding what you think is protection will probably be adding a risk because you do not know what you're doing. If your cabs have the same drivers, then connecting both cabs is one of the best things you can do. As I wrote: the amp "sees" three identical drivers, which is good. The official specification of the TFB750-A - - - and this is written in its user manual, which you should have downloaded - - - is that it delivers 750W into a 2 Ohm load, 630W into a 4 Ohm load and 305W into an 8 Ohm load. As this amp has output transistors (not an output transformer) and can deliver into a 2 Ohm load, it will happily relax with a 2.67 Ohm load. User manual: [url="http://www.thunderfunk.com/Downloads/Thunderfunk_OwnersManual.pdf"]http://www.thunderfu...wnersManual.pdf[/url]

This is extremely dependant on which amplifier you use, and that is the info we need from you. Please tell us exactly which model the amp is, so we know what system it is (tubes or solid state, output transformers or not). At any rate, the amplifier does NOT "see" two different cabs. It "sees" three identical elements, with a total impedance of 2.67 Ohm, as Chris says. Experimenting with dummy speaker loads without knowing what you're doing is not what you should do right now. Stay away from those for the time being. If your amp was built for that 2.67 Ohm impedance, then you're OK: - Some or many tube amps built for 4 Ohm would accept this lower impedance, but you would have to ask the amp factory first. - All regular solid state amps without output transformers [b]that are in fact built for 2 Ohm[/b] (and they tell you so on the back of the amp) would accept this higher impedance with gratitude. However, most solid state amps are not built for 2 Ohm. So, exactly which amp do you use?

Please tell a bit more about how you would use it, like music styles, whether you'd play it with one or two hands, the number of octaves you need, whether you'd accept full size keys, slim keys and micro keys, etc. Also, is the MicroStation an example of the exact type of machine you want or are you flexible in that aspect? Will you use acoustic piano sounds, for example? A 3-octave, 4-voice analogue synth like the new Korg Minilogue is a steal at roughly USD 500, but is not the travel-through-the-history-of-synth-use-in-popular-music that for example the Alesis Micron / Akai Miniak is with its hundreds of presets and Virtual Analogue synth motor. Neither would produce good acoustic piano sounds, whereas many workstations, often with large keyboards, do. Budget too of course!

[quote name='Roland Rock' timestamp='1468090014' post='3088575'] I have a PJ with active/passive East P Retro and the internal rechargeable battery (blendable between the two pups). Will try to get a pic taken [/quote] Thanks very much, guys! Special mention for RR even taking pics. RR, what does "blendable between the two pups" mean? Dunno if it's some English I don't understand or something technical.

Thanks, guys! Billy: That seems like an intelligent solution indeed! It's funny too, as I was thinking of the EMG PJ Set anyway. So maybe one could just reverse the process, and start with investing in the pickups and then add the pre later. Hm. Promising, this. SR-Pete: That I must investigate too. The B2B has little space, and I'm thinking it would be nice not to have to rout too much. Wow! A lot of good help in little time, and that on a Saturday evening! It's well appreciated.

Are there any general purpose preamps that would not need specific cavities to fit in? I was thinking of the possibility of modding a Hohner B2B by (initially) keeping the pick-ups but adding a preamp and exchanging the pots so one gets a mid position indent. Then I realised I only know of John East's J- and P- Retros, and AFAIK they need certain cavities, but I'd assume other products exist that could be used with most P/J configured basses? True? Which? Thanks!

Must've been lucky: in nearly 50 years of playing live, I've only really played with a few different drummers, but they were all normal and very reliable. All the other drummers never turned up for the gig...

[quote name='casapete' timestamp='1465718597' post='3070361'] I had the same problem with a Hohner B2A. [/quote] Same here (B2B), and this was solved by a shorter strap, and slightly higher held neck. From what I read on BC, different body measurements require different solutions though.

[quote name='ras52' timestamp='1465461275' post='3068352'] posteriority. [/quote]

[quote name='peteb' timestamp='1465457502' post='3068306'] Remember that all this love and passion used to occur when he had run out of dope, fallen out with his missus or had an outsider around who he wanted to impress with how tough he was! [/quote] Where is the [i]Like[/i] button when you need it.

[quote name='ras52' timestamp='1465457895' post='3068311'] In terms of songwriting balance, Andy Partridge was Lennon/McCartney and Colon Moulding was Harrison! [/quote] For dramatic effect, and to make this sentence better literature, just ditch the word "and", and use a semicolon instead: [i]In terms of songwriting balance, Andy Partridge was Lennon/McCartney; Semicolon Moulding was Harrison![/i] [i] [/i] Great notion! ...as in: I liked it.

[quote name='NancyJohnson' timestamp='1465454332' post='3068279'] I was watching the Rockpalast show on YouTube last night...suprised to see how many of my preferred tracks were sung by Colin Moulding. [/quote] Took me by surprise too, when I finally discovered it after decades. For a gig in Holland that's on some vid site, IMS they took turns: two songs each and then swapping. This went on for most or all of the gig. Maybe they always did that, but I've never seen them live.

Nope. However, I read on a guitar forum recently that more and more people play with short nails on their classical and flamenco guitars, and that they often use slightly different strings then. Reportedly the results are very good, and pro players, even famous ones, are amongst these people. Maybe something for you as well. Have fun with it!

Thanks for that, Graeme. My problem is that I can't try it right now (I can't borrow a keyboards amp), and must make a quick decision on selling or not selling the LB cabs, as someone wants them as part of another deal. Also, I don't know enough about the GBE to be able to predict how well it teaches me what these cabs would sound like when driven by a keyboard amp. Ah well, a wrong decision will not kill me. I may have to just jump and then see in what country I land. best, bert

I was thinking of connecting synths to a stereo keyboard amp, and using my two Ashdown Little Bastard LB-112 cabs as stereo speakers. This is just for in the living room. Is there any way to predict some of the outcome? These LB-112 cabs are equipped with neodymium drivers, and they seemed to me to be quite capable as to transient response. At the same time, I don't know how such cabs are being designed, and whether they are limited in bandwidth and/or may have some type of tuning to them that makes them less desirable for synth use. Anyone who can enlighten me a little? I can't borrow a keyboard amp to just try it out. Alternatively, would it be a good idea to connect a synth to my Genz Benz GBE 750 for trying the speakers? I'd expect its input to be able to handle the signal. Thanks!

Great avatar, Niels. Oh, and welcome!

[quote name='BigRedX' timestamp='1464033816' post='3056012'] I don't need bluetooth. IMO it's completely unnecessary. I'm perfectly happy with a wired connection, and also it won't run down the batteries in my iPad so quickly. [/quote] A bit off-topic, but: Do you happen to know this to be fact? I'd have assumed that the iPad's battery would be run down more quickly when it has to drive the wired headphones than when it has to send a Bluetooth signal. BTW, yesterday I happened to read the specifications for a slightly up-market Bluetooth set (€250), and the specifications were better for wired connection. I hastily assumed this expresses a limitation of the Bluetooth system as well as of the built-in amp, but do not know.

[quote name='Geek99' timestamp='1463746995' post='3053791'] To be honest i was a bit late for prog and whilst I'm sure it's technically very accomplished it really does leave me cold [/quote] I think the core of prog lies in its breaking the musical expectations. I think most of it isn't accomplished at all, and very much of it relies on the composer not knowing how to continue and then simply deciding to change styles completely so as to cover his insecurity. I lurv it.