Chienmortbb

Re Blue Aran, they are not the UK distributor. The distributor is LMC http://www.lmcaudio.co.uk.

The problem is that your amp is putting DC through to your speaker as the power supply collapses. It may or may not be a fault and probably won't hurt your speaker but it is not nice.

It's a thought, I might get a quote.

Black Gloss Nsil Carnish for me and an added benefit is I get to be s goth (with short grey hair?). Thank you.

After 10 years with hardly any wear, I clipped my Aerodyne on a mic stand and a chunk of lacquer flew off, exposing bear wood. The home is the size of a pea but I would like to seal it. I realise that I cannot get an invisible repair and am happy to make a feature out of it. Has anyone any ideas?

Ibanez basses usually have quiet preamps. Why not see if you can get a replacement before going passive?

[quote name='Phil Starr' timestamp='1480492225' post='3184738'] You are going back to a time when 25W was a high power speaker and 50W was pretty exotic. Speaker coils were wound onto paper and stuck down with very simple adhesives. At any higher power the paper singes and the glue melted letting the coil distort and rub against the magnet. A 100W amp cost several weeks wages. I remember Goodmans bringing out what was the first affordable 50W 15" speaker in this country. If you wanted a 100W speaker until then a 4xsomething was the only way. It also raised efficiency to the level where 100W was enough to fill a large auditorium. You are also going back to a time when speaker theory was pretty much unknown. Thiele re-published the theory we all use in 1971 and it took a while after that to be widely adopted by music speaker designers. Partly that's why there are so many bonkers designs from back then, no real theory. Basically the reason we don't use 4x15's is better glue [/quote]some of those old Goodmans speakers were insanely efficient. The Audium and Axiom ranges if I remember rightly. There was a 6 watt model made for HiFi that could deafen you at a couple of watts.

I do not know your particular combo but most 15" tweeter combinations have a dip in the response, either side of the crossover frequency. I recently had the pleasure of hearing a 12 with tweeter, properly crossed over and it revealed how much I am missing. I have a Gallien Kruger MB115.

[quote name='yorks5stringer' timestamp='1480160664' post='3182083'] With the exception of the Alain Caron 121 Lite combo which is slightly different: Top-level sounding combo designed with bass legend Alain Caron, the COMBO 121 LITE is a powerful bi-amp combo, now updated with a 300W power amp for the new compression driver, and 500W power amp for the 12” speaker with maximum fidelity, headroom and dynamics! Alain Caron is known for his high standards, and the components in this combo were carefully chosen to reach those standards. This is the best-sounding bass combo ever! [/quote]That must be some compression driver that needs a 300W amp. Compression drivers tend to peak at about 110 watts and have very high sensitivity. 300W is either severe overkill or MBS (marketing bovine excrement).

All right of course but the AC30 just has something. As does a Marshall stack. The Who at Glastonbury is a case in point. Townsend was using a wall of Fender Combos, think Brian May's AC30 wall. It sounded thin and wispy washy on the broadcast coverage, in contrast to the usual Townsend Marshall sound and May's AC30 sound. As for the little 15/17 watt combos, most sound like strangled budgies.

I also thought that there was a connection between Trace and Ashdown. The power sections were a similar design mosfet design the early days to the from memory. Of course they were also situated in the same area.

Really pleased for you. I too had a great redhead but I assume yours is an SWR and not a wife?

Phil is right. The Beyma looks by far the best bang (or should that be boom) for buck for bass in a 12" driver.

[quote name='josie' timestamp='1479254165' post='3175187'] My 1992 Jazz Aerodyne has a big deeply scratched patch in the middle of the back - some previous owner obviously played it a lot wearing a big sharp belt buckle. I guess s/he didn't care because nobody else could see it. It makes me sad, but I accept it as part of the guitar's history. I would never let that happen to any of mine though, even if I normally wore flashy belts, which I don't. [/quote]I have one from new and new and it was stored for a while in an area that was prone to condensation. The bridge, knobs and a little of the machine heads were tarnished and I was gutted at first. I took them all off to replace them then needed the bass fast for a gig. Put them back on and they have stayed on ever since. I love my Aerodyne.

Try a different shaped bass. I was having trouble with my little finger on a standard 34" Fender Jazz. I bought a single cutaway Bass where the hand and wrist position is quite different and since then I have had no trouble. Alternatively move the rear strap button closer to the top of the bass. It will alter the balance and that may help.

[quote name='LukeFRC' timestamp='1479475003' post='3176817'] try a 2 band stingray next [/quote]Once I finish my amp and 1x12 cabs the 2 band stingray peep is going in my Peavey P. And it is just me or did the newer basses sound a bit brighter? I don't know what pups, are and what magnets, but I am old enough to remember that late 60s when everyone wanted a '57 Les Paul. We all put it down to the way the wood aged as the tone was mellower than late 60s Les Pauls. Turns out it was just the Alnico Pups losing a bit of magnetism.

[quote name='bazztard' timestamp='1479366833' post='3175936'] that is the main function of a DI, to split your signal to the PA and to your Amp / monitor [/quote]Strictly speaking DI means direct injection and is to allow direct input to a live or recording console. One in two out is a distribution amplifier.

[quote name='stevie' timestamp='1479386367' post='3176125'] My complaint was about the Quarter Pounder model, not Seymour Duncan pickups in general. [/quote]Sorry I was not specific, I meant the Quarterpounders no Seymour Duncan's in particular.

A lot of good advice on here. Firstly repeating what Stevie says, ditch the Seymore Duncan's. They are not good for bass. Di Marzio do some nice bass pickups. Or try an Entwistle PBXN. If you have flats on the P go wirewound. However if you really like the J use the J. As I see it the P sits nicely in the mix with other instruments, the J is good for soloists or virtuosos. The comments about the amp are correct but the P bass has a humbucking pickup and the J has single coils. No matter how you EQ it you will never get a P to sound quite like a J. Also the more EQ you need the less headroom you have. It would be worth using a long lead or wireless system to go out front while playing to check the sound the audience hear too.

I have a small chance that I can get to NAMM 2017. Does anyone have a spare badge?

[quote name='pmjos' timestamp='1479146732' post='3174331'] The word is compromise. If you take the example of the Hi fi world, if price is no object, what do you buy. A 200W Arcam perhaps at nearly £4,000. And inside surely Class D?.....no. Bloody great torroidal transformers and caps like Heinz bean cans. Heavy, hell yeah. Why because nothing beats a sodding great power supply for great bass and transients. [/quote]Yoh need bloody great transformers at 50Hz. Once you have rectified it you can run a switch mode power supply at high frequencies using much smaller electromagnetic

I bought this a few weeks ago and was about to write a review. I love it I will do it on another thread but in short. It has a 34" scale length and although it looks like hollow body, it is actually has a solid body with hollow chambers. The top and bottom are stuck on to that the finish is excellent and the only thing I had to do to it was replace the strings and lower the action. The pickup is a "Duncan Designed" that is made to Seymour Duncan Specs in the far east. The preamp is a two band Duncan affair and features Volume, Bass, Treble and Blend. I will fill everything else in the NBD thread.

I have to say that although I do not get a good sound many great players do. So is the Jazz a great bass? The best are. As for P/J basses. I have one and the I believe that the sound go the P pickup is affected by the J Volume pot. It is in parallel so effectively reduces the value of the P Pickup Volume control. All P/Js should have a 3 way switch IMHO.

As above, what do you think are the most important effects for bassists? Which 2 could you not live without? I have allowed multiple choices and added some more options

[quote name='Gottastopbuyinggear' timestamp='1478955447' post='3172930'] Oddly enough I was thinking of posting the very same question, this being a song we currently play. I'd assumed it was some form of filter effect, though I have no experience of such effects at all. There was a thread on here recently about filter effects that go down rather than up - in my mind that sounded like the sort of thing it needs, but that's a wild guess! [/quote]I think I need to change my username to something like yours. Maybe I will look on "The Other Place"