BassBod

As I've just done the reverse experience (TF>Clarus) I'd have to say the Clarus is more "clinical" heard on its own, but in a gig setting seems to be pretty warm and clear, with surprising headroom. The eq is limited for BG use, but useful. If you really like the flat sound of your bass, then it works. The TF reminded me a lot of the SWR 220 - I thought its basic tone was "clean", and the timbre control was the key to warming it up, or making it brighter/clearer. The 4 band eq takes some getting used to. As an essentially 25 year old design its pretty impressive. I think the cab element is worth considering - I use Euphonic Audio's (1x10 or 1x12) and they do allow an amps' character to show through very well, sometimes too well. But they also work in gig environments much better than any more traditional cabs (SWR, Eden, Ashdown etc) I've used. Small eq changes can actually be heard and they maintain clarity on stage, even those boooomy 'orrible ones. It would be worth trying to do a "side by side" comparison of your current cab, with some others? Unfortunatley, using your ears, with the same bass/amp, in the same room, at the same time, seems to be the only way to evaluate these things. I was shocked when I first heard the EA 1x12 on its own - dry, brittle, flat - not exactly flattering. But after one gig I loved it. I still sometimes use my SWR 4x10, but now I know what's missing (and those gigs are so loud I've got plugs in, so who cares!?). BB

SF has a point - something like the Aguilar or Demeter valve DI. Power supply (built in) valve and audio transformer...and a ground lift. Might need some sockets... BB

Oh, yes, shouldn't state the obvious, but strong construction is a must for things that live on the floor and get chucked in gig bags - metal jack sockets, fixed to the case please. BB

I'm always keen to try any new or different DI/EQ. I currently use an LR Baggs or Orchid DI(for upright) and Sansamp/Aguilar DB924 depending on the gig. They all sound different. I've yet to track down a Demeter or Sadowsky. On functions, I think the Sadowsky is ahead of the pack (EQ bypass, tuner send and mute..so useful) but it really comes down to a musical eq and a great sounding DI output. Running on phantom power is a nice touch, but I understand it has limitations (limited current?). I sometimes only use a DI (no amp) and I can see this happening more often, as PA's get better and transport get harder, so the more options the better. BB

Another happy exchange experience (amp/amp) to report - arrived on time, well packaged and safe. Recommended. BB

I've used Vic Knight for years - never had to claim, so I can't say I've ever been able to test them - and I hope it stays that way. I've contacted them a few times with questions, and they've always been very easy to deal with. BB

Are these rack mounted (or metal cases in contact)? Could be earth loop through the cases/rack rails? If so, look for humfrees - they can work sometimes, and only need to be used on one item. Good luck BB

The newer light stuff can be amazing, so why not use it? I buy secondhand, and generally I'm very pleased with my Euphonic Audio stuff. I also still use my GK microbass combo, not in the same class on sound alone but fantastic for those really awkward load-ins. I do a lot of freelance/dep gigs and frankly convenience often counts above sound quality. I've also noticed over the last ten years that city centre gigging just keeps getting more difficult - more parking restrictions, less spaces near venues, more jobsworth security at venues (and festivals)...anything that eases the loading in and out makes a difference. If I only played in one band, we all arrived by van and loaded together it would be different. I'd use my SWR more. BB

I have the same issue with my SWR220 - depending on the age, apparantly these can be fried by phantom power, (although the fix is simply a pair of diodes?) I wouldn't expect Markbass gear to be vulnerable to this, as its all pretty recent designs? Any passive DI box will protect - I run a jack from a preamp send (or effects send) to a Radial ProI. The other benefit is that you know a passive box will not cause any added hiss and won't run out of headroom (or at least do it with better grace..) BB

Mo Clifton's double five piccolo - tuned an octave up. [attachment=9870:wp94fa31f8.png] He's a brave man BB

I really wish I hadn't seen that....in the nicest possible way... BB

I've generally been a back pickup Jbass player - as long as I've been playing. Recently I did a "covers" dep gig (chic, 70's funk with a bit of ska-jasss?) and used a Dimarzio'd Pbass with flats. Loved it. The jazz stayed in its case. I'll be doing more of that..if they ever ask me back! I think I've converted BB

Thanks for that OBBM - that Fralin description is the opposite of my experiences! Good to see they think about it now...certainly wasn't the case a while ago (apart from maybe EMG?). I lean much more to the view that a P's a P and a J's a J - why mix them? But it took me years to get to that, and my old PJ fretless was a bit lovely. Good luck BB

If I were to do it again, I'd make sure I got the J wound to be a decent match to the P. Most makers just put the J from a J set with a P - and it sounds feable in comparison. I'd also make sure it wasn't too close to the bridge. Think about a humcancelling J - it can be a shock when your P bass starts to hum like a J, and you won't have the noise cancelling "both pickups on full" option when people start complaining about the hum. BB

While we're talking Alembic - I used to play in a band with an electric banjo player (synth pickup and all...nice) and one day it had a wiring problem - looked inside to see the pots had the Alembic logo on them...I think we should be told. I know Rick Turner sometimes claims inspiration from turn of the (previous)century banjos (laminated necks, multiple veneers, headstock volutes etc) but there may be more to this....come to think of it, those Stanley Clarke cds in the 80's did sound a bit banjo too.... BB

[quote name='jakesbass' post='220191' date='Jun 16 2008, 08:22 PM']Thing is BB an Epic is by no means modest by the standards of other basses, only when compared to high end Alembics.[/quote] Absolutely - the Epic contains many of the Alembic features and design philosphy, but a bit simplified. Its the best sounding active bass I've ever played, and has a "natural" sound that works well in every setting I've used it. I was a bit concerned when I bought it (used) that the unusual electronics could be a problem, but they are very well put together and seem very reliable. I've also found out that Alembic themselves are good at helping out (truss rod adjuster, mains transformer for 30 year old F2B preamp..) once you get their attention. [attachment=9712:DSCN0732.JPG] Only two negatives. When I first picked it up the Epic felt like an 80's Aria, but of course that's because they were copying the general style back in the late 70's and early 80's. Plugging it in resolved that one straight away. Also the five string Epic is heavy, and the balance isn't great - but no worse than many others, including a few Wals I've played. BB

If you could afford this new, batteries wouldn't be an issue..... I think Alembic do some great things, and much as I like to oggle the custom stuff ... I'm more than happy with my modest Epic. Maybe one day...but I doubt it.

No help with cabs...too complicated. But don't epoxy the Pbass - if you like flats, stay with the rosewood board. BB

Talk to John at Orchid electronics - he can make all sorts of passive switching/active DI boxes and is happy to do custom work. I'd recommend a two input DI (that can run from phantom) with a tuner output/mute switch. Even our banjo player can work it...on a good day. BB

GO for the DI option. The success will be very dependent on whether you like the DI (they can vary, surprisingly) and whether your PA engineer can get enough of your sound in the monitors before everyone starts complaining they can't hear themselves. It is a different approach and some people just can't get used to it (not usually the bassplayer..). Try your/a DI flat into the effects return of your amp and see if you like the sound...if you don't it may not be the thing to do this time. One important thing - don't plug a passive bass into a passive DI. It will sound very flat, and pretty crap. I've seen engineers do this...several times. BB

32" scale plastic coated are really few and far between - the rotos are the only ones I can think of. However, flats in general opens up a few more excellent choices - Thomastik flats are available in 32" and getting them from Germany avoids extra UK taxes. Same goes for the Pyramid Golds, as used way back when - these are fantastic for the 60's sound. Get the set made for the Hofner beatle bass, and that should be a good fit (the Hofner is 30" scale, but also has a long tailpiece to bridge section). I don't think extra wrap around the tuner post will cause a problem - but flats can "move" where stressed, so don't be surprised if the windings open up a bit. I'm afraid basses with shorter scales/tailpieces can be a bit hit or miss with strings. BB