jensenmann

The frets would make me suspicious. It might be possible that this instrument doesn´t sound good. Otherwise it would have been played more in the last dekades. This would have lead to much more wear on the frets. My 62 Jazzbass has max 1mm of frets left due to being played much. Another option is that the neck is defective. A friend of mine is collector and he told me that a lot of these matched headstock Jazzbasses got new necks (esp in the 80s when graphite was hip) since the originals were bent. Before spending so much money I´d definitely want to play it.

When I did DnB in the 90s I´ve been usind a DOD envelope filter a lot. Mostly It was tuned that the filter opened only when I played extremely loud. Regular picking kept it closed for a bassheavy sound. Another thing I did was playing a Boss OC2 with the direct signal muted. The effectsound is something with a sinus-alike waveform which is one or two octaves lower. For getting higher frequencies into the game I splitted the signal and sent it through a Whammy Pedal and different Distortion boxes, TC Chorus/Flanger Pedal, TC2290 Delay and whatever more I forgot. Longtime that I had a look into my stomppedal bag. Both signals went through a Lexicon Jamman for sampling/looping and then into an old SVT head with two channels where it had been mixed together. Lots of fun :-) But we don´t party like that any more

Well, gents, if this comment was not meant insulting please accept my apologies for the harsh reaction. Though I did read it as insulting, probably due to my limited language skills (the reason why I´m here is practicing english language - besides bassaddiction).

Thanks for your understanding that I´m not a native speaker. Your comment shines a very glorious light on your interhuman abilities.

I´ve been doing that kind of thing with a TC2290 Delay. It has 5 built-in effectloops which can be controlled through a footboard. The 2290 itself is probably the best delay ever made. It provides everything delay- and VCA based in incredible quality with crazy modulation possibilities: delay, chorus, flanger, panning,.... Unfortunately it´s no more made and used prices are always beyond 1000€

bigger transmitter tubes than these 813s have been cooled with hot water vapour. So imagine the next stage of a tube bassamp: 10000 Watts with it´s own heater for the steam..... Anyway I´d like to hear his amp distort

[quote name='Shaggy' post='528570' date='Jun 30 2009, 01:03 PM']Come the revolution; you will be the first against the wall, and your Wal liberated by the proletariat (ie; me) Damn, that sounds lush. never heard of / seen that custom option. Any pics?[/quote] Unfortunately not. That happend to be in times before digital cameras.

[quote name='Shaggy' post='528337' date='Jun 30 2009, 08:29 AM']Ouch! What colour was it?[/quote] Metallic green. That made it look kind of UFO-ish

Definitely my biggest mistake was to sell my custom coloured 1964 Gibson Thunderbird IV. AAAARRRRGGGGGHHHHHH it still gives me sleepless nights

If a second hand bass older than a few years has a straight neck then it won´t bend ´til the end of it´s life because the wood is fully dried. But if you get a new one you will have no guaranty that it will be playable in a few years because the neck might bend.

As long as you´re in a room with your cabs the room will add loads of modes and combfilter low frequencies anyway, no matter if you have one cab, two or twentyseven. As it´s mainly a function of the placement which is depending where you are standing on stage there´s not much choice and you will have the trouble in a kind of unpredictable way. No way to avoid that. Oper air is different. One cab is perfect (besides first reflection from floor and - probably neglectable - from roof. Two cabs will give frequency depending combfiltering and frequency depending dispersion. All the theory besides 2x 8x10"SVT rock. Your guitarplayer shall live in fear :brow:

Having done quite a bunch of Reggaeshows as soundengineer I found the dbx120 to be pretty useful for getting the fattest lowend. It´s 19" though and has no distinctive sound, it only adds one octave below. If you think of an audible effect you could give the EBS Octabass a try. It tracks much better than a Boss OC2. Another option is to get a 19" Effect which is doing good pitch shifting. Used Eventide H3000 or Eclipse comes to mind.

[quote name='spiritchaser' post='471274' date='Apr 24 2009, 08:20 AM']... And in came its evil twin: a wonderful 1993 MKII 5 with sycamore faces and skunk stripe - and the reason why I'm selling my LeFay Capone 4 tc Oliver[/quote] Holy Moly, what a beauty. You´ve got damn good luck chasing down all these beauties, Oliver. You make us seriously jealeous.

nice Precision!!!

Wow, well done, Oliver. Your new beauty looks fantastic.

Depending on what you want to do and how deep you want to get into an FX machine you should give the TC Fireworx a try. This box produces crazy sh*t if you take your time to dive into it. Personally I´ve been using a TC2290 for a long time for chorus, flanger and delays + it has five switchale FX-loops inside where I had a bunch of other pedals inserted. Unfortunately these delays are no more made and still very expensive (>1000€ on the used-market).

John, you should consider to replace the two red Roederstein electrolytic caps in your electronics with new ones. They are the worst caps ever made, very unreliable and prone to failure. They have been used in a lot of audio gear and VERY often cause trouble, esp after more than 20 years of use. cheers Jens very nice bass, btw

If I had no clue I´d better have someone else mix it and sit beside him to learn what he is doing. Then I´d try it next time myself. (no offence!) And if your "engineer" lost files in a HD24 then he´d better not call himself engineer as this box is very straightforward and easy to use. Maybe he did other mistakes in recording bad signals, too low signals or whatever what will give you headache now. but this doesn´t help you in this particular case. How about this one: start listening to two instruments and ask yourself these questions: does the dynamic behaviour of these instruments fit together? if yes, then add the next instrument, if no then use a slight bit of compression to make them fit better. Are both source delivering important information in the same frequency range? If no, then cool, if yes then a) try to pan them apart decide which one is more important and cut this frequency area in the lesser important instrument using EQ c) use both a) and techniques. Then add the next instrument and go through the same questions. Always use a little less EQ/Comp as would make it obiously recognizable. As a beginner you´d better use auto compressors because then you will do less mistakes in misaligning compression parameters. Use lower ratios of compression (2:1). hope this helps good luck btw there are professional studios for some reason ;-)

[quote name='wombatboter' post='380443' date='Jan 14 2009, 06:06 PM']No problem, Oliver....I change basses so much that I totally understand. The midi-Wal is not the easiest thing to master and certainly involves a huge challenge. I was not able to use it in a band situation. Sixstring is too difficult for me but good luck with your collection ! Give my regards to your charming girlfriend too...![/quote] Believe me, your Midibass is in good hands. I´m totally in love with it. It´s like a dream has come true. I´ve been looking for a Wal Midibass ever since they have been released. At the beginning I couldn´t afford one and later they stopped making them. But my heart aches quite a bit because the sixstring Oliver got from me in return for the Midibass is a wonderful instrument with a killer tone. I fear now I need to get a Wal fretless again

[quote name='AndroWal' post='373771' date='Jan 8 2009, 06:41 AM']Jens, Thank you for the offer. I think my Wals will be instruments I hand-down to the next generation! I am thinking about a couple of Wal 6s and am on the list to have them made by Paul Herman. I am awaiting pricing info, etc. My thinking goes back-and-forth about 6s and whether I really need or want them. The fretted would be great for chord-playing and both just for range and ecomomy of movement, but then I think...hmmm...I can do just about all of it on my 5s. Also, once comfortable and used to the 6s, would I want to play my 5s? What is your experience with this? Best, Andro[/quote] I´m playing so much more on my fretted MachII-5 that swapping to the 6string feels strange to me. I´d prefer to have the same handling for fretted and fretless. For solo noodling the 6th string is great, though. Especially on this particular instrument. It sings. cheers Jens