DiMarco

[attachment=151039:brightbox_celestions.jpg] Right. Cutout for a Celestion 5" is 3mm larger then that of the original Trace Elliot speakers. Making those four holes bigger in a sensible way took some time, I did it so now they are conical and everything fits nicely. Had a solo test run connected to a Trace Elliot AH300-12 and this little fella can go LOUD for its 120w (everything below 4kHz is filtered off). Speakers are (of course) wired as two series pairs in parallel keeping the load at 8 ohms. Speaker grille is currently in the garage drying, Not sure if anyone will like the colour I gave it but I do :-) I think the Celestions will do fine. Can't wait to take the revived brightbox to the studio and test it with the 2x15. Thanks for reassuring me Steve.

[quote name='dave_bass5' timestamp='1388059087' post='2318137'] I just got a 60B for Christmas, and have owned a B3 for a while (and have some good comments at gigs so at least one post in this thread is way off the mark and complete nonsense). [/quote] No it isn't.

Would love to A/B that BF flagship 2x12 with a Vanderkley 212mnt. Currently playing through a Trace Elliot 2x15 which also fits nicely in the back of my car (Renault Scenic) tho.

SAHB aren't very well known here in the Netherlands. A band from the Liverpool area who were living and gigging here in the nineties introduced me to their music. The impossible dream, Sahb stories and ofc the Live album are still among my favourites.

The naming scheme used is very confusing. I own a 1998 USA Music Man Sterling bass which has a 3 way pickup mode switch and 3 band EQ. Very nice bass with huuuge low end and snap.

Thanks man, great vid!

4 Celestions on their way here...

Stuff is worse then I expected. I just took the cabinet apart and it occured to me what has happened with this cab. Someone tossed it around, threw it on the floor or whatever. The glue holding the four magnets to the speaker frame came loose on all of the speakers, on the top speaker the magnet + phase plug are separated completely from the speaker frame and the actual coil is ripped in two. So... one of the previous owners abused this poor little cab. First the good news: - The three other speakers still work, I just gotta glue them back together so the phase plug and coil stay aligned in the future. - I have taken detailed photos of the strangely named "1818 XO2" crossover that's in the brightbox so I can figure out exactly what it does. - I now know the 5" speakers with phase plugs used in a brightbox are Trace Elliot lsp-s508 and am hoping to get some parameters on them. By posting all this I hope someone can use this information some time as none of it seems to be online. Then the bad news: I payed 100 euros for the sucker so yeah. I got ripped off. [attachment=150802:foto 1.JPG] [attachment=150803:foto 2.JPG] [attachment=150804:foto 3.JPG]

Or currently made of cheap plastic like the one on my Ric.

With the original (sixties) bridge pickup position, the bridge cover did not cover the bridge pickup. Because this was not aesthetically pleasing Fender then chose to move this pickup closer to the bridge. So indeed, it resulted in a more agressive and snappy sound originating from this bridge pickup, a tone that many people still know and love their Jazz Bass for.

I'd only consider the B7K if I were to play a lot using other people's backlines and use it as a preamp. As far as I know when you switch off the overdrive on it, you switch off the EQ along with it (someone correct me if I am wrong) so in order to use the EQ constantly you will be using the overdrive constantly along with it... I went for two seperate pedals to be able to kick in some mild overdrive and full on brutal distortion at will.

Arrogant? Patronising? LOL! Guess the truth hurts some. I bet you own one of these Zoom pedals? I did since some players on forum told me it sounds good, sold it after two weeks because it is one of the worst sounding pedals in the history of pedals. These days any person can publish stuff on the internet and a lot of them do not know what they're talking about that's all I'm saying. Someone telling you a Zoom B3 or MS60-B sound good is either a liar, sales person (thus a liar) or someone who never heard good bass tone in their life. A Zoom B3 and Zoom MS60-B are above all CHEAP pedals that will do well with your bedroom practice amp if that's all you want... Well that is very nice but some of us are actually looking for something that can be used in real live situations or for recording. Do not expect miracles from those pedals. They will not deliver good tone.

So... Anything (war)wicked going on lately? [attachment=150758:lolphinblur.jpg]

The bridge cover is what caused seventies pickup positioning so be thankful.

Sure, if you like synthie stuff and flat sounding chorus etc. the digital toys are the way to go. I still have to hear the first big muff/Ampeg classic/Accoustic 360/Procon RAT/etc/etc modelling that sounds anything like the real thing though. They simply all sound completely crap. I strongly get the feeling though a lot of these "happy zoom owners" have never heard a full scale bass rig in their lives that's all. Plug a zoom ms60-b in between your seventies P bass and such a rig and you will know what I mean. It totally destroys any tone you had. So yeah I wouldn't believe anything I read from the reviews you can read on forums. Youtube can be a nice source but sadly most of these newbies don't bother recording a decent audio signal when making their video reviews and will make any gear sound like crap. My advice: Go to a good guitar shop, bring your own bass with you and try out these pedals for yourself. Online info is nice but only on specific questions that can be answered with facts rather then opinions. I do realize that by saying these things you also don't have to believe a single word I said.

[quote name='Guinness21' timestamp='1387604558' post='2313763'] where does the b7k sit, with the amount of adjustabilty available? [/quote] The B7K is essentially a B3K with 4 band EQ, parallel output and a very hot D.I. output. It is marketed as a bass preamp as you can plug into any rig and have your sound with it. It is more of an "always on" pedal like the Tech21 VTbass is (but without the Ampeg style colouration of your tone). Since I am using a Trace Elliot amp with 12band EQ I reckoned I won't need an extra EQ on my pedalboard and went for the two other pedals (B3K and vintage microtubes) instead. The idea behind this move is made pretty much clear in this video someone else made: [media]http://www.youtube.com/watch?v=I-TKjoFQZqo[/media]

Hold that thought. And ODB-3 is a way way waaaaaaay different effect then the Bass Big Muff and are used both in their own way. I have gone through a lot of dirtboxes over the last couple of years including big muff, bass big muff, mxr m80 d.i.+, mxr el grande bass fuzz, Tech21 VTbass v2 and some others. Right now I have a couple of Darkglass pedals (B3K and vintage tube) incoming which will arrive somewhere next week... The "dirt" on a bass can be divided into four different types:[list=1] [*]Classic Tube like overdrive = Tech21 VTbass or Darkglass VMT [*]Modern tight and aggressive distortion = MXR M80 or Darkglass B3K [*]Classic sustainy, warm and sweet fuzz = MXR El Grande Bass fuzz or a standard Big Muff [*]Grindy but tight modern fuzz = Bass Big Muff [/list] Don't make a mistake by thinking a big muff will replace your ODB-3, they are entirely different pedals. Also a tip: You can take just about ANY overdrive or distortion pedal and sound okay when mixing it 50/50 dry/wet by using it in your effect loop rather then in between your bass and the input of your amplifier.

I don't really care what the signing artist plays. My Nate Mendel sig P bass is a nice P with somewhat slimmer neck, badass II bridge and quarterpounder pickup. Nice nice nice! It has the mods that I want so I prefer it over any other P that is about the same price. Same goes for my Marcus Miller sig japanese active jazz with ash body, maple fb and seventies pickup positioning. Great bass that gets lost in the mix just as well as any jazz!

The 15kHz stated might be marketing blah. 8k should be high enough indeed as 10 is "treble" on a hi-fi amp. (I'm trying to rely on simple logic). Thomann sell those Celestions for 23 euros a piece. I will go with that almost for certain now. Thanks again Stevie your help is much appreciated!

Thank you Stevie, I think I'm going to have to go for those celestions considering the costs involved replacing all four those speakers unless I can find another bright box that has at least one working speaker left in there. I have just found the original specs of the bright box state it runs from 4khz up to 15khz. That 4khz probably means the passive filter in there sits somewhere between 4khz and 5khz which should make it safe to use 30watts speakers summing up to 120 watts for the whole cab.

You guessed it. One of the four 5" speakers in my brightbox has turned to pulp. I am looking to replace all four of them wit Monacor msh-115 midrange units that go up to 10khz. A cheaper option is using Celestion TF0510 units which go up to 8khz which should also be enough. These are only 30w each though instead of the 50w rated Monacors but are 2 to 3db louder at 1 watt then those Monacors. What do you guys think? Does anyone know at what frequency the Trace Elliot high pass filter in the brightbox operates? Thanks in advance, Marco

[quote name='lefrash' timestamp='1384843761' post='2281295'] This could very well be the first negative review of the ms60b i've read! [/quote] That is mainly because many bassists don't know any better and really shouldn't be writing reviews. Zoom multifx pedals are toys hence the low prices on them.

Booze.

They will actually. If they think its good enough. Warwick are cool like that.

That looks a lot more chunky, less sleek so to speak. No pun intended. I wanted an elegant looking design so I chose to keep it curvy.