BassBod
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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
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No -
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
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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
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Twin neck fretless + fretted - do they exist?
BassBod replied to Born 2B Mild's topic in Bass Guitars
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
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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
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Cheers reniwren - let's see what happens. Haven't you got one already?? Although the amp is pretty small and light, once its in the 19" rack bag its a bit more bulky to post (and my small local post office is a bit jobsworth about "big" boxes!) 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
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Anyone interested? If so I'll get some photos up later. Bought on here a few months ago, in excellent condition, comes in a light Proel 2U rack bag (plus the strap handle and feet if you don't want it in a case). This is an early TF550A - although the case still says 420. The switch is mounted top right, and is an unlabelled switch, rather than a push button on later versions. This changes the power supply for the preamp, to give a different response (its subtle!) - look at thunderfunk.com for the details. Its a good amp - small light and very powerful and the enhance and timbre controls are really good at setting up sounds quickly. BUT - when I got it it had a really bad mains hum - as loud as the fan, but you can turn the fan off. Its since been to the best local tech, and he's fitted the maker's humbucking fix ( a wire over the transformer, to pick up and phase cancel radiated hum) and now its got a bit of hum, but about half as loud as it was. To put it in context, you will notice a slight background hum at home or in a small theatre setting, with no ambient noise, but in almost all gigging situations you'd never hear it. At the moment I'm doing a lot of virtually acoustic stuff and my GK combo is almost overkill, so I've really no need for this amp. Looking for £350 collected from Bristol/Bath area (M4, J18) or any interesting trades?? BB Here's some photos [attachment=9830:DSCN1144.JPG][attachment=9831:DSCN1145.JPG]
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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
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Bump - back again, with reduced price...
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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
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[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
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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.
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Help me choose a cab! Schroeder, Dr. Bass, Genz & 2x12 musings...
BassBod replied to wateroftyne's topic in Amps and Cabs
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
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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
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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
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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
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Roto Trubass - Poor intonation on E string
BassBod replied to markdavid's topic in Repairs and Technical
I've got the same set (32") but on a fretless, so I always think its my fault! I've tried a few types of plastic strings on 34" scale basses, and there is something weird about the roto's tuning - its all a bit undefined. The Labella's are very different, with a clearer sound and better intonation, but they don't do a 32" scale set (and come with warnings about breaking if they don't fit well). BB -
Seymour duncan - SJB-1 vintage for jazz - any good?
BassBod replied to markdavid's topic in Accessories and Misc
I put a set on a J bass a few months ago - very nice, but also traditional. Output is fine, sound is what I'd expect from a good passive J. If you're wanting something brighter/more aggressive/slappy then its worth looking around for "overwound," split coil or active options. One thing is to decide if you can live with single coil hum - it bugs me, but I love the trad J bass sound (or souped up with Aguilar outboard preamp). One day I'll explore the various split coils that claim to have the same sound...it never stops, does it? BB -
I've had this a lot - he was just trying to get a clean sound, and take an unknown variable out of the equation. It may seem unreasonable from a players' perspective, but does also make sense. Some players use extreme amounts of eq that can be hard to control front of house or for recording. You will often find that amp DI's give you a choice of "line/direct" and this is the same thing - direct being pretty much the same as the signal going into the amp and line allowing the tone shaping of the preamp circuit and effects loop to be included in the DI signal. For me, I don't make any fuss when the music suits a clean sound (jazz, folk, EUB) but for rock/blues I try to use a good passive DI box from an amp output (preamp out, or effects send) that allows the preamp sound to go to the desk. Using a passive box usually avoids any complaints about noise and hum - which is the other reason engineers sometimes don't want to use an amp's DI. I also try not to use eq in any extreme way - keep it clean and gentle! The sansamp is another great option..provided you like its sound. BB
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Nice to see the old jazzer is still getting out and about...now you've got me thinking about black Stingrays....ohh deeaar BB
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The EA cxl112 is a great cab - very revealing, and a bit of a shock when you first try it. Much more midrange than you normally get out of a bass cab, and that translates in a band situation to hearing everything you play. Bit like a DI experience - you either love it or hate it. A couple of times I've had sound engineers take a good look at it, as they've been very impressed with the way it projects sound. They are pricey new, but come up secondhand for around £350 - 400? BB