jensenmann

Hi Steve Did you actually purchase from them? How did it turn out? thanks Jens

Flight 13 duplication in my hometown Karlsruhe, Germany: https://www.flight13-duplication.com/en/starting-point They have the last ever made Neumann VMS80 cutting lathe, the Rolls Royce of vinyl cutting and run their own pressing plant. And they are definitely into punkrock...

My last holidays without bass were 21 years ago. That was a 2 month trecking tour in Patagonia. Other than that I always find space in the trunk of the car to fit a bass inside. It would not be holidays if I had no bass around.

Some more racks, this time from my control room:

I think I can keep up with that:

I´ve never drawn a complete circuit diagram. But let me search my HDs for the schematics I have everything stolen from 😉

My FET Bassman is not what the name suggests. It consists of a FET-transistor input stage, followed by a modified API 553 inductor EQ. The three switchable frequencies for each band are adapted to my taste and work very well with my Wal fretless. It doesn´t sound like a Fender Bassman at all. My Peavey is closer to a Bassman than the FET pre. Here´s some internal p*rn:

My bass rack: Peavey Alpha tube Bass Preamp (used for fretted basses) Selfmade Preamp for my Wal fretless TC2290 Delay/Looper KMT DC5 poweramp Currently not installed due to repair is a Yamaha SPX990 multieffect which sits in the stereo effect loop of the TC2290. I´m using it for reverb with the fretless Bass.

My alltime favourite is Pete Townsend Give Blood:

You´ll buy twice. The best ist the enemy of the good.... You can use even the lousiest microphone if the situation requires exactly this sound (e.g. SM57 on guitar cabs). In other circumstances it will sound lousy, though (e.g. SM57 on violin). With improving hearing abilities and monitoring situation you´ll realize the strengths and weaknesses of your microphones, esp. if you compare them to other mics.

Just edited my above post while you were posting.... So which mics did you buy?

For recording basscabs I usually use a Beyerdynamic Opus99 for it´s fat lowend without the usual lowmid dip which most bassdrum mics do have. Occasionally it might be a AKG D12 (sounds oldschool), EV RE20 (neutral) or Neumann U89 (very detailed with exceptionally controlled lowend). If the bassound is distorted, then it´s a SM57. For acoustic bass it´s a U47fet or U89. For ambience I use Neumann CMV563, SM69fet, U87, Shure VP88, Beyerdynamic M160, depending on what I want to achieve and where the mics are placed in the room. Looking at the other thread you posted about interfaces it seems that you you´re asking for a mic to record the roomsound of your bass. In 30yrs of recording I never had the desire to do so. But maybe I should give it a try. In an acoustically untreated room the result could be disappointing due to standing waves messing with your lowend. If you have a room with a properly designed acoustic then you could get predictible and useful results. I´d use U87/89/47fet in that case. A man cannot have enough microphones. But don´t tell missus....

I have a vintage B15 for recording and couldn´t be happier with it. At some point I´m sure that I want to compare it to the new PF20/50 amps. But it´s a keeper anyway. The last amp I will sell. I´ve recorded all types of basses through it, be it Precision, Jazz, Thunderbird, Stingray, Wal fretted and fretless, ... All of them sounded great. No issues from active electronics. For live sessions I always wrap it in absorbers to have less bleed with other open mics. But it doesn´t need to be played loud for a great sound, anyway. But unfortunately there´s quite a monetary difference between PF heads and B15s.

Now that´s a car. Tasty and classic. Never seen or heard of this.

What do you mean with FF? Sorry, I´m german, not a native speaker...