shizznit

I blew my tweeter horn on my XLT 210 cab last week whilst using my envelope filter, but I only noticed it last night. It works ok when set to about a 1/4 turn, but starts to clip and distort from thereafter even at a low volume. So, I suspect that I have blown the diaphragm. I do use the tweeter on this cab, so I will miss it. I have emailed David Eden this morning about it, but I am sure that they design their own speakers, but built by Eminence. So, could I just replace the diaphragm with a normal Eminence one? I am not finding anything on the interweb that is compatible with the D2700 bell tweeter that are installed in the XLT cabs. Don't really want to spend the money replacing the tweeter horn completely with an inferior alternative. I may have to bite the bullet and order a diagphragm directly from David Eden and pay the extra carriage charge to get it delivered from the U.S., but if anyone can recommend a better solution then I am all ears and I will appreciate any advise.

I have had lots of incidences of band members and crew knocking over my instruments. The worst being my old Warwick Dolphin Pro 1 Custom. Second night out and the venue tech ran across the stage (for no apparent reason) and tripped over the lead that was still attached to the bass and dragged it 10ft behind him! That’s what I got for showing off my new bass by placing it in front of the amp! Luckily, little damage was done...a 5” scuff on the back of the body, a small lacquer crack on the heel and a dink in the headstock. He looked at me with the expression on his face as if I was going to make him some concrete boots and throw him in the Rheine, but he was very sincere with his apology (at least I thought he was…couldn’t speak any English!) and bought my drinks for me for the rest of the evening. But, after playing the gig with the dink in the headstock in full view winding me up even more I took the decision after that evening to leave the instruments behind the backline for safety going forward. I would expect no-one but myself to wander around the back of my amp, so it has always been a safe place to keep them when I am off stage. We all like to show off our shiny and expensive instruments, but do that when it’s strapped over your shoulders! It's always a good habit to get into to leave your instrument out of the case for a while so that it can get adjusted to the temperature of the room/venue. Ever tuned up during a line check and then returning an hour later finding your instrument flat? The heat of the room will affect the strings and even the bow of the neck. A venue will get warmer as the evening goes on due to stage lighting and increasing volume of people adding more heat and moisture. It's a tough battle to keep in tune, but you can help the burden. As every performing musician on this forum knows, setting up the stage for a gig is a hazardous place and no-one wants to leave their pride and joy exposed to potential accidents, but if you can find a safe place to acclimatise your instruments as soon as you arrive at the venue (such as behind your rig) then it will help you later.

Charlie Mingus at the moment. I own a lot of records that he has released or appeared on for years, but never really sat down to study him. I am not DB player, but I love his feel and I don't think you need to be a DB player to appreciate him. Really sexy and dirty style!

I can just about fit an 810 into my VW Golf without moving the driver and passenger seats forward, but it's very tight. That car has a lot of capacity for a hatchback. I think you might get caught out with a Corsa...even the new model which is like a hurse compared to the MK1.

Dang! That is hot!

[quote name='pete.young' timestamp='1326484514' post='1497971'] I have a Gigskinz medium mixer bag which is a perfect fit for my iAmp 350, so this must be quite a big amp. I hope the one I have is not representative of the quality - the main bag has held together but the pocket zips only lasted a matter of weeks. I think you'd probably be better off with a laptop briefcase. [/quote] I have the medium bag that Mark @ Bass Direct sells and it's a perfect fit for the Reidmar. I have used this bag with other amps for about a year now and it's still as good as the day I bought it.

9/10 I will always have to tweak my EQ settings or compressors a little bit to accommodate the distance from me to the amp, how far the amp is from a wall, venue acoustics, stage size, indoor/outdoor environment, monitoring quality or even the other band members preference. Nothing drastic...usually a tweak of the mid's and being a bit more frugal with the compressors. That's why a lot of front of house engineers insist on receiving a pre-EQ DI signal as apposed to a post-EQ signal is because the backline tone you have onstage will sound pants through the desk. By all means, have a perky scooped tone if you want it, but it doesn't mean that it will sound great through the PA. You would hope that the sound engineer knows what he is doing and trust that he will sculpt a representative bass tone that sits in the mix nicely. As long as you are happy and the engineer is happy then job done, but more than often you will have to compromise. Stage acoustics work very differently to room acoustics. Sometimes it's not the tone I would prefer to hear, but it's terribly difficult to replicate the same tone you have at home, rehearsal room or studio. It's how it works unfortunately and more than often you will have to suck it up and get on with it.

Primus Royal Albert Hall 4th-5th April 2012 Just bought my tickets! So excited!!!! Never seen them play for the 20+ years that I have been listening to their music. Anyone going?

My Lakland 55-02 and MTD 535 are thin and fast. IMO, MTD build the most comfortable neck in the business. My Warwick Thumb is like a cricket bat, but oddly very comfortable and fast!? I think the fingerboard radius and size of fret also helps with the playability of the neck as well as the thickness

[quote name='samuel' timestamp='1326434161' post='1497147'] Hi, I got one of these amps just before christmas. So far it's been fantastic!! [/quote] Congrats samuel! Quite a nice little Reidmar club starting to develop on this forum!

Welcome to the party sunsee!

The Ashdown boards don't look tough enough in my opinion and even though the Harley Benton boards look cool they are quite pricey for that size. Dragon Cases built me a 20"x12" pedal board to my spec for £100 and delivered it within 3 days. Might be a bit pricier now as that was about 10yrs ago, but I can vouch for it's toughness. That case has done moree air miles than Judith Chalmers and still going strong!

HAHAHAHA!!!!

I used to take a P-bass and something a bit more boutique so that I had a bit of variety. Since I bought the Lakland 55-02 it does both of those jobs and then some, so I generally only take that with me these days. I typically stick to one tone with one bass for an entire session for consistency and time saving reasons. The studio can be a playground for experimentation and you can explore lots of tones and sounds with as many basses, amps and effects that you want, but time is money and I am a firm believer that it should be used as sensibly and efficiently as possible (especially when you have to pay for the studio time yourself!) **edit** (forgot to respond to the second part of the question!) Live - I normally take two basses. One to use for the gig and one as a back up in case #1 goes pear shaped or goes grossly out of tune by bumping into a band member! It's the condom theory...I would rather have one on me and not use it rather than not having one and need to use it!

Hook us up with a couple of sponsorship or R&D testing deals Ralph!

Oh...just to let you know lads...EBS have posted a link to this thread on their website! They are reading our feedback! They have made a statement about how well received the first bunch of Reidmar amps have been by their customers in Europe. Go to the EBS Blogs page on their site and have a read. I dunno about you, but I feel quite proud that EBS has paid attention to our discussions

[quote name='Linus27' timestamp='1326370102' post='1496097'] Out of interest, what is the pattern on the front above the dials? Is it dragons or snakes or something else? [/quote] I think its some kind of Norse dragon pattern that was painted on the Viking ships. Reidmar was a bloke well known in Norse history and I think they named a massive Viking ship in his honour. (gosh...I sound like a geek!)

[quote name='EBS_freak' timestamp='1326369300' post='1496075'] I'm tempted just to bite the bullet and order one... if just to add to my ever expanding collection of EBS amps! [/quote] Why the heck not...whilst in Rome! Taking mine to a job in London next month. I have to travel on the train and tube because my partner needs the motor, so I want to travel light. Should be interesting to get feedback from a pro studio engineer. I have worked with this guy before and he really liked both my EA and Markbass amps. I have a feeling he is going to like the Reidmar too. I'll report how it went when I get back home.

Dude...that looks awesome! So jealous right now

Feel is more important than tone for me personally. I will admit that I prefer the sound of certain brands over others, but I like to have my strings feel silky and clean. I change my strings very frequently because I like the fresh tone of a new set. Coated strings are great value for money even though they are a tad more expensive. I used Elixirs last year and I like the tone and the longevity, but I stopped uing them because the coating felt waxy to me. I am using DR's at the moment which I consider to be the best feeling string out there, but I am not that fussed on the tone. Still trying to find the right balance! Might switch back to D'Addarios again. They are very reasonably priced, feel great and have a lovely perky tone. For me they are the best value bass strings.

[quote name='BRANCINI' timestamp='1326306648' post='1495278'] Dont laugh... But if you play a loud track to him, does he stamp his feet/clap or whatever in time ?? if he can, and your willing to, you should surely be able to keep him straight as long as he can hear the rest of the band. If not, he's gorra go. Much as he likes the idea of being a drummer, if he cant do it, he cant do it. [/quote] A very famous musician (I wont name drop) once said to me "You can't polish a turd". Sometimes you have to resign to the fact that some folks just don't have 'it'. People come and go in bands for lots of reasons, but you can't do their job for them.

Same thing happened to two of my Warwick's a few years ago. Warwick sent me replacements (there are lots of videos on TouTube showing you how to replace a nut), but the only thing that kept the nut stable was the pressure of the strings alone and hoped that the nut stayed put. I cursed the day Warwick changed their nut design to tht piece of rubbish.

[quote name='discreet' timestamp='1326300412' post='1495164'] Thanks! Is it this one? [/quote] Yup...that's it! Another drum manufacturer make something similar, but I have been told the Tama is the mutts nuts and pretty much the best one on the market.

I have worked with a few pro drummers that use click tracks in their ear monitors because they are hung up about keeping perfect time. That then avoids all arguements that the song is out of time or too quick/slow. It's a skill and does take some getting used to, but does yield a lot of other benefits such as being able to delay and modulations effects to the same BPM or timing samples. Tama make a really cool device for live click track monitoring (can't remember what it's called off the top of my head), but I have seen a few drummers use them. Introducing this technology to a drummer that is nagged because of sloppy timing is a sensitive topic and might cause offense, so be tactile!

Can't believe I have just seen this bass again after so many years! I too have played this very same bass because Ritchie was originally going to sell it to me and I ended up selling him a P-bass instead! Just PM'd you Ben (haven't seen you in ages!)