BassBod

The Sansamp does fuzz, but it can be subtle too (despite its own instructions!). It took me a year to work out what the Sansamp can actually do, and then I only really got it when I started travelling more and using all sorts of rental backline. The Sadowsky/Aguilar units are great too, but only do warmth (or rasp) as they are really modelled on the Music Man circuit that Leo Fender decided to use to make the Stingray sound huge. Small amps are great these days...and just what's needed for run around gigs in small venues when you can't park anywhere near. But, they do sound a bit modern and lacking in warmth.

A bit general I know, but I do a lot of "small jazz gigs" and often find that they are neither as small or jazzy as the booker intended. The thing that works for me is a clean /small(ish) combo or head /cab but what gives me the extra is a warm sounding preamp pedal. For amps, it can be an SWR, Ashdown Retroglide or a Mambo (jazz guitar amp) and for preamp its either Sansamp, Sadowsky or Aguilar DB924. It all does the same thing, makes the amp sound a bit bigger and older than it is.

He is on FB, but would probably delete any negative vibes 😳. Not sure he has much to do with running the company, but it’s a shame to see a once respected brand, with some high profile endorsers, perform so badly. Hope this situation improves, but Hartke is off my list for now 😳

Yes, the SC 50Plus was a decent small valve head, two big power valves and heavy transformers. Smelled like good amps should... The Cobra was good, but very cheap build - plastic end plates and thin wooden top. The handle pulled out of. the chipboard cab quite a few times..

I did - moved up from a Sound City 50Plus, to a Carlsbro Cobra 90 head and cab. Still slightly surprised I didn’t kill myself with the SC, knew nothing of lethal capacitors etc, so it was probably a good thing. I liked the Sound City..and would happily gig with one these days. But the Cobra was a marvel..with virtually no components inside the case, just a few bits stuck to the front and back of the very empty box 😳. That’s probably why the power light used to dim when I played a bottom E with anything like enthusiasm.

All you need is a decent passive box, that removes potential ground loops and sounds ok. After that its bells and whistles. I'd suggest the Radial Stage bug...the green one. There are cheaper ones but the quality of the transformer does matter, and you want it to survive, so the general build quality matters as well.

I’ve never blown one, but did have a broken fuse holder, many years ago. I’d get a few of the old Sylvania ones posted from the US, as it looks like the LED versions are rapidly taking over - better auto bulbs, but no good at looking after your tweeter 😳 Might be worth contacting Marshall as they own Eden these days, and all the old Eden cabs used the same fuse (they designed and built the early SWR cabs). They probably have a few somewhere...

Looks like 211-2 are the magic numbers, 12v or 24 Sylvania. Don't use the modern LED version!

If there are any numbers on the original bulb, put them into an Evilbay search and you'll probably find a few sources that will ship a couple for not much cost. I did this recently to replace a missing mains fuse and holder on an old SWR. From memory, those were common USA auto indicator bulbs?

I’d expect it to be fine for small acoustic/jazz type gigs, but nothing involving big rooms or noisy drummers. No XLR DI, but there is a jack output that could easily be used to run a DI box.

I’ve worked a few gigs with the Bose system - very impressed! I had a small amp each time, but the way it covered vocals and guitars was superb.

I tried out the new Ashdown Studio 12 combo recently. Was impressed with its sound, and it was certainly light..great all rounder, especially if you can DI into the PA. Was going for £299 but wouldn’t be surprised if it could be found for a bit less 😎

Small cabs have got much better, so one or two 1x12” s can cover anything. Also loading, parking and general gig logistics just keep on getting harder in most cities, so two lighter boxes just makes life easier. I didn’t want sell my 4x10 but it just wasn’t getting used, and gear needs to earn its house room 😳

Small amp/cab with you, just to get a room balance with the acoustic drums, line to PA for support when needed. Keep it simple

Yep, here between Brizzle and Barf it’s a gradual decline. Only the function/corporate gigs pay anything...most venues are down to duos and open mikes that cost nothing. Two obvious reasons - it costs a small fortune to go out anywhere and virtually all pubs and restaurants are run by big businesses (with planks on the walls, to get that Hipster/vegan vibe) and very temporary management. As long as the KPI boxes get ticked, no one gets a terrible reference for their next career step. 👴🏻

Just for fun..this is the corner of a magazine photo, taken during the filming of the trio jam at the end of the DCI video. The triangle markers presumably show his favourite settings?

One thing to remember about Jaco. He didn’t have a lot of choices, especially in his earlier days, but he sought out the best gear that was available in his location, and focused on being heard in gig situations. From organ trios to big horn soul bands, it was the back pickup, big amps and low mids that punched through. The delays and double tracking came later, after he had found his core sound. I’ve heard recordings where he’s playing through B-15’s and Walter Woods amps, but his tone is still there, loud and clear.

Lubrication of some sort - pencil graphite (HB) on the threads can work very well, or sparingly applied WD40. Most important is to go carefully to avoid damaging threads. Not sure exactly what the system is, but without a fixed length double ball string it is possible to have strings that are too long for the travel of the threads..so you run out of room on the tuners. Check for this first?

Thanks...I’ll look out for one! 😎

I’m intrigued by this pedal - I’ve used various Sansamps and other preamps to warm up modern sounding amps for years. Does it have “a sound” that is convincing? Or at least different...

I wouldn’t go for the ToneHammer...it’s quite gritty, by design. I’ve found a boost at 200Hz and a boost around 60Hz works pretty well on my SWR stuff. Think strings first, that’s where a lot of the attack comes from, especially with the epoxy coated fingerboard. I think he put the boat epoxy on to stop the steel rotosounds from chewing up the neck...but discovered a new sound 😎🙏🏻

Yep, he double tracked fretless, so it’s almost exactly the same lines, but there is some natural variation in the intonation- gives it a very organic and musical version of a chorus effect. Live he would have a slight (MXR) delay on one amp, with another amp dry - again, producing a chorus type effect, but more natural than a pedal. The other elements are roundwound strings (yes, it is😜) and a heavily coated fingerboard..that really makes it growl. It’s a pain, but it was a key part of his fretless sound.