shizznit

The speakon out on my amp is quite tight and took a bit of effort to make sure it clicked in. Check that. Other than that, I can't think what could be causing the problem. If you still get no joy contact Mark tomorrow to explan whats happening

[quote name='Linus27' timestamp='1326235219' post='1494410'] Did you get power out of your one? Mine powers up and the headphones work but nothing when using the speakeron. [/quote] Oh...hang on...are you using the headphones at the same time when it is connected to the cab? The manual says that it will cut the speaker output signal when headphones are plugged in.

[quote name='ltswifty' timestamp='1323093914' post='1459131'] I went into Colchester today to try one of these out (I use a TD650 and Pro Line 2000 cabs from Tonyf, heavy but can't find the same tone anywhere Worryingly, when they plugged it in it was DOA!! They are getting a replacement in this week, so will report back on how it sounds. [/quote] Oh man! I hope you haven't received one of these duds too! :-(

[quote name='Linus27' timestamp='1326205557' post='1493757'] Thanks shizznit, I may drive up to Bass Direct at the weekend with the Reidmar to try cabs and pick up a Classic 112 so I will look at those Gig Skinz bag also. Will also try an NS NXT double bass so I can see this trip becoming costly [/quote] LOL! I know what you mean. I spent £800 that I didn't intend to spend the last time I drove up to Mark's shop! That place is like Alladin's cave!

[quote name='EBS_freak' timestamp='1326203597' post='1493718'] Agreed - the lack of rackmount is a bit of an oversight... although I don't believe for one minute that the Reidmar was designed with anybody in mind who is out to rack this thing. If I recall, Bo wanted a sub £1000 giggable lightweight solution. It's no surprise that the solution is entirely from China but despite that, the package is nicely made. I'm not entirely sure that EBS thinks that there is a market for these amps in the UK as their other non class D amps are selling well in Europe but no so good over here... Time will tell. I suspect if the Reidmar takes off, they'll broaden the range. Marketing in the UK is tricky. I suspected that there would be a double power T90 given the extra holes in the chassis - that hasn't materialised... yet. But then again, I don't know what the uptake of the amp has been - the HD350, TD660 and Fafner remain the firm favourites with the Classic 450 being popular in Europe - yet the Classic 450 seems to have done very little over here. [/quote] Well, you never know...EBS might inject more investment into that corner of the market, but as you said (and I totally agree) the HD, TD and Fafner heads are very much revered as some of the best high powered amp heads available and will certainly continue to be their bread and butter. They did launch the Reidmar very softly and I have seen very little advertising for this amp before and after it came onto the market, so that could suggest that their business focus is still very much based on their other products. [quote name='Linus27' timestamp='1326204139' post='1493728'] To be honest, I am not bothered about it not being rack mounted. Its just that I am touring soon and wanted to know if i should get a rack case or some other means to store and protect on tour Personally I am happier its not rackable as that means its smaller and I am not keen on racks anyway The only other thing EBS said to me is they are considering making a combo using the Reidmar head, [/quote] If you are looking for a well protected case for the Reidmar give Mark @ Bass Direct a call and ask him about the Gig Skinz bags. The medium size is a perfect fit for this amp and is incredibly well padded. Lots of extra pockets to carry other stuff too. Mark sold me one early last year for my Markbass LMIII and I now use it for the Reidmar. Tidy!

[quote name='thebrig' timestamp='1326202821' post='1493697'] Great point! I don't think that I am ever going to use this tuning for anything else,except this one song. If we were embarking on a 'world tour', and this song was crucial to our performance, then yes, I would be more than happy to have a bass specially set-up for the purpose, but I'm sure we can find an alternative number for our forthcoming tour, of the 'Dog & Duck, quickly followed by the 'Builder's Arms'. [/quote] [u]Note to beginner players or about to start gigging for the first time[/u] - Don't have multiple change over of instruments during a gig unless you are paying what you earn from the evening to your own personal guitar tech to hand you a freshly tuned instrument just thw way you like it so you are ready to go within 10secs. If you can't afford a guitar tech to do that for you (most bands don't) and think that you can get away with playing a different guitar for each song like the Edge did at Glastonbury last year...don't bother! The time you waste will only p*ss off your audience and you don't want your singer telling more crappy jokes and winding up the audience even more whilst patiently waiting for you to sort your sh*t out. Take only what you need and be sensible. You can probably tell I am a tad touchy about this topic!

Budgie is the man! Very underated drummer from that era.

[quote name='thebrig' timestamp='1326201429' post='1493659'] Unfortunately, it definitely is a [color=#282828][font=helvetica, arial, sans-serif]C F Bb Eb tuning, and you really do need that low C thump on the open string to make it work.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]I think I might might just tell him politely, that there are ZILLIONS of songs out there to choose from, so this one is getting the elbow!!![/font][/color] [/quote] I totally agree. Is it really worth all the hastle for just one song...really? Singers are quick enough to ask the band to change the key of a song if it doesn't fit in their range. Not that easy for the guitar and bass players to do on command if you have to tune the strings down or have an extra instrument just to play that one song. It's pointless. I am sure he can live with himself if you skip that song. It is a good song though!

Valve amps will always be popular. I think we went through a phase for 10yrs where 'digital was best' because of amp simulation technology, recording software and getting more bang for your buck. However, most recording engineers that I have worked with recently will insist on using valve amps, compressors, mixing desks etc.. only for the quality of tone. So, valve appeal is definately coming back again and the market will continue to survive. Neo cabs, unfortunately, may be a thing of the past in the coming years and thats a shame, but I am sure someone will have a light bulb moment and come up with an alternative.

Two things... 1. Music is my therapy 2. Bass has to be the nerdiest instrument of all...I love it!

[quote name='Linus27' timestamp='1326194064' post='1493467'] Yes, I think you are right and I think once word gets around and people hear and try the Reidmar, we may see a lot of other bassists using them. Its also good that EBS produce three different styles of cabs to go with this head so a few options there also. Personally I would like to see EBS produce a more powerful Class D head, say 500 watts and in time make the unit much smaller. Whilst we are talking about size, is the Reidmar the same size as other heads and so rack mountable or is it smaller like other Class D amps? Oh and I should be getting my Reidmar today [/quote] The Reidmar is a bit wider than a lot of other portable D-class amps, such as Genz, Markbass, Aguilar, EA...etc. Also, you can't rackmount the Reidmar, which is a little disapointing. Hopefully, EBS will improve the ergonomics with their next D-class model. Especially that the new Aguilar Tonehammer 350 is not far off the same size as a packet of fags! Glad that you are joining the Reidmar party today! Don't forget to give us your feedback! Are getting your Classicline cab today too or is that coming later?

[quote name='Linus27' timestamp='1326136014' post='1492790'] shizznit, I spoke to Ralf at EBS about this. This is what he said. [left][b][i][font=Arial][color=#0000ff]A theory might be that due to the nature of class D amps, most of those amps feature a built in limiter that reduce dynamics and limits and level out the low end at high volume, which makes the tone lose definiton - only to prevent the power amp from clipping.[/color][/font][/i][/b][/left] [left][b][i][font=Arial][color=#0000ff]The Reidmar use a different and unique solution, and does not automatically limit the signal anywhere before the power amp which gives more headroom and preserved definition of tone even at high volumes, which makes it sound even more powerful than it actually is. [/color][/font][/i][/b][/left] [left]We also went on to speak about other class D amps and how they claim to be off a certain output but in fact when tested are nowhere near what they claim to be. He went on to say that EBS are just more accurate with their figures.[/left] [/quote] I have spoken to (emailed) Ralph before and he's a good guy. Bless him...he sent me a replacement tweeter horn FOC when the one in my 410 went within the first couple of weeks owning it, even though I admitted that it was completely my own fault! EBS aftersales care is second to none! Ralphs comments are very interesting. From what he has said there doesn't appear to be much parity in D-class bass amp technology, which may explain why bench test results of other popular brands are falling short of their claims. I'll defend Markbass amps to the hilt and recommend them to anyone...I loved my LMIII, but I can't help but feel a bit cheated. I have a feeling that the Reidmar is going to take a baseball bat to the rest of the D-class market in the coming months. No doubt EBS will continue to develop further into D-class amps and I am looking forward to what further advancements they will produce in the future.

I am so looking forward to seeing the pics of your new addition! A 6 string fretless P sounds so cool! [quote name='dood' timestamp='1326156611' post='1493233'] Hi shizznit! Sorry, totally missed your reply! Yes, certainly give Jon a bell for a chat, at least to say hi and that if he's unable to chat at the time, to say that you're sending a mail I guess. That way you're covering the bases. Though certainly if he is a bit nose deep in neck carving, arrange a time to have a proper natter as he'll want to discuss what you are looking for. Better still, arrange a day to go up and see him. It's a long trip for me up to Sheffield, but his instruments are worth a trip out to LA, I promise you that! Thankfully, he's a lot closer!! [/quote] No worries mate. Thanks for replying I am having an inner arguement with myself about the spec I want for the bass. The wood selection I want is very similar to my MTD, so I am trying to decide if I want to stick to what I know or go in a different direction. Also, dunno if I want a 5 or a 6...so still not quite ready to place my order! I want this bass to be a work horse...my number 1, so I am taking my time to ensure I get what I want and be comfortable with it for many years to come. My Lakland gets a lot of work at the moment because it's so versatile, but it weighs a frigging tonne! I have a whiplash injury which I have had treatment for the past 4yrs and the Lakland doesn't help my recovery when I am playing a gig for 2hrs. My chiro actually asked me to bring it to him and looked at my posture whilst playing. He wasn't happy that I would play an instrument that heavy 2-3 nights a week. I want to replace it with something lighter and resign it to studio use only. Though I love my MTD I don't play it much because I favour the Lakland and it's too much of a fine instrument to keep hidden in a hardcase all year round. The bass cost me £3k and I am always nervous about playing it at gigs. Never thought I would get to this point and a couple of mates have already told me I am mad, but it's strange how things work out sometimes. I already have a buyer on standby for my MTD, so sorry guys...I can't offer it to Basschat members But, if that falls through for whatever reason this site will be the first referral.

[quote name='EBS_freak' timestamp='1326149239' post='1493115'] PS your settings are not the same - the frequency centre points for the tone controls are different on both amps. [/quote] Ahhh...well spotted, but the photo is deceptive. Take a closer look at the photo. The frequency range is mapped very different on the Reidmar. On the HD350 the notches range from 50hz > 100hz > 200hz > 400hz > 800hz > 1.5khz > 2khz. The Reidmar is marked from 100hz > 200hz > 600 hz > 1.5khz > 2khz. Very different mapping from each other. So, I have to hover in between 600 > 1.5khz to find my fav 800hz setting I would normally match up the marker to on the HD350. Anyway...even if I was out by as much as 400hz it would not made that much difference to the volume, which is what I was testing at the end of the day. On my previous comments about the mids projecting more with the Reidmar was in a recording environment...not a live environment, I actually cut the high mids down to 300-400hz. I did the same on both amps and when I compared the tracks the Reidmar was definately a bit more lively and sat in the mix louder on higher notes.

[quote name='shizznit' timestamp='1326116687' post='1492459'] Great review EBS_Freak! To add to the comment you made about EBS demo'ing the Reidmar with an 810...I have an interesting photo to upload that I took at my gig last night. Can't right now because my iPhone won't let me upload to imageshack, but I will do it on my laptop when I get back home later. Had a big gig to play last night so I took my HD350 and Proline 410. Happened to have my Reidmar with me, so after we sound checked I popped it in for a blast whilst the venue was empty. I set the same EQ, gain and compression levels on both heads and brought the backline volume up to the same level I sound checked with (which was pretty loud last night). The result really freaked me out! You will understand why when I upload the photo later. [/quote] As promised. Pay close attention to the Volume knobs! [URL=http://imageshack.us/photo/my-images/718/73393492.jpg/][IMG]http://img718.imageshack.us/img718/4827/73393492.jpg[/IMG][/URL] Uploaded with [URL=http://imageshack.us]ImageShack.us[/URL] Somebody will have to explain to me how that is possible!? I had to push my old Markbass LMIII harder to get to the same volume as the HD350 and that amp is twice the power as the Reidmar. I don't get it??

Ugh…ok…I am going to give the same lecture to this thread as I do with my students… I understand that Wooten (or instrumental players in general) is not everyone’s cup of tea and even though that I am not at the same end of the scale as him I am sure that I am not everyone’s cup of tea either. I can live with that and I am sure Victor lives with his criticisms too. I can think of dozens of influential and reputable players that don't switch me on, but that doesn't give me any right to disparage their musical ability no matter if I personally think they are being a show off or can't even put two notes together. Music speaks to people on a very individual preference and appeal. Every artist captures a listeners attention differently to the next. Don't try to be oversensitive and judgemental as a developing musician (and we all are) when listening to others that do not appeal to your own palette. Being closed minded to what people like to hear is not a great trait to have as a musician. Bottom line...have an opinion and respect each others opinions.

Great review EBS_Freak! To add to the comment you made about EBS demo'ing the Reidmar with an 810...I have an interesting photo to upload that I took at my gig last night. Can't right now because my iPhone won't let me upload to imageshack, but I will do it on my laptop when I get back home later. Had a big gig to play last night so I took my HD350 and Proline 410. Happened to have my Reidmar with me, so after we sound checked I popped it in for a blast whilst the venue was empty. I set the same EQ, gain and compression levels on both heads and brought the backline volume up to the same level I sound checked with (which was pretty loud last night). The result really freaked me out! You will understand why when I upload the photo later. Now that I have spent a lot of time with the Reidmar I have noticed a few things which I initially didn't pick up on. [u]DI[/u] The output signal is a little hotter than it is on the HD350. I noticed it last week when I was doing some direct recording at home. Maybe this has been upgraded? Doesn't bother me much as I use my EA amp for all of my direct recording. [u]Mid range[/u] The mid's on the Reidmar sound a bit more projected than other EBS amps, including the Fafner. There is definately a bit of difference there. [u]Low end[/u] As you said EBS_Freak, I did notice that I have to crank the 'Low' knob up one more notch than I normally would on the HD350. [u]Line out[/u] The signal is a little quiet and could have benefitted from a line level control, much in the same vain as the DI out. My EA iAmp 500 has both features and is such a blessing when it comes to recording and running through a PA. But, most amps in the D-class market don't have this feature so I guess I am just being fussy! [u]Shhhhhh[/u] This amp is very quiet! The DI out is quiet, the cabs don't hiss as much as the HD350 for some reason...even the fan is quiet!

[quote name='Gunsfreddy2003' timestamp='1325889889' post='1489609'] I had a Q-tron but have to admit that the Mutron III is a much better pedal. I would still be keen to try a Soundblox Bass Envelope Filter Pro though to see how that compares. [/quote] The Soundblox pedal is not cheap, but you do get a lot of bang for your buck... [list] [*]22 Filter Sounds including 2 Pole Low Pass, 4 Pole Low Pass, Single Peak, Triple Peak, Peak & Notch, and Phasers. [*]Positive and Negative filter sweep with variable range and sensitivity. [*]Wet/Dry Mix knob featuring our signature low-end preserving algorithm ‘Lo-Retain™’. [*]4 modulation sources including envelope, LFO, expression pedal and Hot Hand. [*]Tap tempo speed control for LFO. [*]State-of-the-art DSP — Our proprietary 56-bit Digitial Signal Processor, the SA601, and crystal clear 24-bit converters. [*]6 user presets — Easy to configure user presets in two banks selectable via 3 footswitches for quick access of your favorite sounds. [*]7-Band Equalizer — Ultra precise 7-band equalizer for in-depth tone control saved per preset. [*]Extended Control — An expression input allows for control of a wide variety of pedal parameters. A MIDI input also allows external access to presets and parameters. [*]Motion Control — All Soundblox and Soundblox Pro pedals are ‘Hot Hand Ready®’ and can be used with any Hot Hand motion sensor to extend the capabilities of the unit. [*]Active Analog Bypass — Bypass is fully routed around the DSP and active input ensure zero signal degradation [/list] I have had this pedal for a couple of months and I have only scratched the surface with the features. My keys player liked it so much he bought one for himself! I haven't bought the Hot Hand device. You do look a bit of a prat waving your hand around like Christina Aguilera when using it, so I am going to leave that. I have seen videos on YouTube with guys attaching it to their headstocks, but again you look like Status Quo rocking all over the world waving the bass neck up and down. The pedal does allow you to plug in an expression pedal so that you can control the swells, modulations and envelope peaks. That is handy and something I plan to add to my pedalboard. My only gripe about this pedal is that it's mostly made from plastic and doesn't have the same toughness of my other pedals. The controls look like they will come clean off with an accidental toe poke. Think ZOOM multi-fx build quality and you'll get the picture. But, unlike ZOOM, the quality of the sounds from this pedal is astonishing and is a heck of a lot of fun to play with. My fav pedal in my arsenal by miles!

[quote name='Clarky' timestamp='1325877816' post='1489355'] I play them in a jazz way, mixing 7th, 9th and 23rd notes in PS, one opportunity I was glad to have missed: there is a dwarf who is a regular member of the London 'alternative' metal and punk scene and - after a gig with my old death metal band back in 2006 - he approached me and asked if I wanted to join his putative band, "C*ntslurp". I had to decline [/quote] You're mam would have been proud!

I also play guitar, but I found that bass playing improved my guitar playing. I learnt theory on the bass and it helped me become a better guitar player. I understood modes and shapes a lot better on the guitar after a few years of bass playing.

[quote name='waynepunkdude' timestamp='1325874969' post='1489294'] Telling Bloc Party they were crap and I was leaving, I was right on both count but still...... [/quote] Wow!!! That's a pretty big miss! But, in retrospect, if it wasn't working for you then it wouldn't have worked for you now I guess. Can't fake it in this business. Never lasts if your heart is not in it.

I was having a conversation with a work colleague today about missed opportunities during our careers today and it also got me thinking about the same during my musical journey. Have you ever missed an opportunity that you wished you never passed on? Be good to hear your stories (funny stories...let's try and make this light hearted!) My top 3 1. Louise (Redknap) Was offered the gig by a friend that worked with her whilst she was in Eternal, but passed on it to concentrate on my own band as we were closing on a record deal which eventually fell apart. Not that Louise had a fruitful music career, but it could have led to more work and to perform every night with that backside running around in front of you...ugh!! I put that experience down to being young and overly ambitious! 2. Sophie Ellis Bextor I was working at the Depo studios in London for a couple of days. Slipped into the corridor downstairs to have a quick ciggie break and chatted to a pretty, dark haired girl who had the same idea. Asked her what she was doing in the studios that day and she told me she was warming up for her tour. She was practicing to a DAT tape, but she was going to use a live band too. She said that she was looking for a bass player and keyboard player. I asked her what her name was before I said good luck and goodbye. I genuinely did not know who she was! I saw her perform on Richard and Judy a few weeks later and my heart sank! I would have asked for her managers number to arrange an audition! I could have been there! 3. Duffy Much like the Sophie Ellis Bextor story, but this particular missed opportunity vexes me the most! My friend Angie invited me to watch her mate perform in a small club in Cardiff. Went along and there she was...Duffy doing an acoustic gig before she made her first album. My friend Ben was playing for her that night, but was his last gig as he started his own band soon after. I was a free agent at the time and he said that he would give Duffy his first refferal and put my name forward. I joked that I couldn't work with a woman I fancied (which was the truth in reality! Gosh, I thought she was very pretty that evening!) and that I didn't really want to join an acoustic band. 2yrs later Duffy released her first album, was incredibly successful and the music is right up my street! I thought "Dammit, dammit, dammit!!! To add insult to injury, Duffy is my partners fav artist and plays her albums at home all the time...constantly reminding me of my cock up! When mates tell me "Oh mate...you would have been the perfect gig for you!" I cant help but suck my thumb! I have no regrets though. I am a very happy musician and I have worked on some fun projects with very talented artist/songwriters. Would love to go back to doing it full time again, but one thing I have learnt is that you have to have a bit of luck along the way and all of my friends that are full time pro's will tell you that. Don't look back at what could have been...always look forward and have fun!

I have seen the 2012 catalogue and nothing has really sparked for me. More reinventions of the same wheel. Nothing wrong with that because I am a big Fender fan, but I can't help but feel that they haven't moved forward much over the last 10yrs. But, whatever. They have had a successful for formula for decades. Who am I to criticise?

My main rig (the Peavey cab belonged to the support band bassist) [URL=http://imageshack.us/photo/my-images/440/photovvp.jpg/][IMG]http://img440.imageshack.us/img440/4889/photovvp.jpg[/IMG][/URL] Uploaded with [URL=http://imageshack.us]ImageShack.us[/URL] I don't have any current photo's of my EBS Reidmar mini rig, EA iAmp 500, David Eden XLT 210, pedalboard and otehr basses. I'll upload those in the next couple of days.

I use my Sound Blox Pro Envelope Filter as much as I can! I have always had an envelope filter in my pedalboard and I have had loads of different brands under my feet over the years. The Sound Blox pedal is the most flexible one I have used thus far (until something else comes out that does a better job!). I played in an acid/jazz band when I was 20yrs old and I used an Electro Harmonix Q-tron. We used to play a lot of Jamiroquai covers and I used it for Blow My Mind and Just Another Story. I don't know if that was the pedal that Stuart Zender used for the recordings, but I could get very close to the same tone using the Q-tron.