four/five

Thank you all for the replies and advice. A mate is going to lend me a Focusrite Scarlett to try out and get my head around this new fangled analog to digital. They’ll be havin amps with no valves in next!

My 2009 iMac looks like it’s giving up the ghost so I’ve purchased a MacBook. However I now realise that it doesn’t have the audio in and out facilities that the iMacs used to have. Do I now need something like a Focusrite Scarlett? I have used Audacity/iTunes on the iMac to bounce music from iTunes into a mixer and back into Audacity so that I can loop parts of the track to work out bass parts etc. Would a Scarlett provide the same sort of system on the MacBook? Ill start reading the sticky on here on how to record etc on a PC but any advice greatfully received.

Thanks for the replies. Having already got and used Ashdown amps certainly steers me to the RM500 Evo11 and especially as the “legendary service” is in house. I assume Orange being UK also so their own in house service if the “magic smoke “ ever appears. Ive now found a couple of Evo11’s but they do seem in short supply even at the larger retailers.

Time to start saving my back, my existing equipment consists of Trace,ABM 500 or Ashdown MK 12 band graphics heads plus either a Markbass STD original 2*10 or Hartke 4*10. Trying to stay with a UK company (yes I know they’re all made in China). So it’s Ashdown or Orange. The Orange LBT is seemingly easily available but the Ashdown RM500 is rather scarce. In fact there are one or two sites saying “not available and one saying discontinued “ which seems odd. Unless Ashdown have a new one in the pipe line. Has anyone out there used either of these amps or switched from one to the other? As regard to speakers the Markbass is just about manageable but the Hartke has to go. Thinking of replacing it with an Orange OCB112 for use at smaller gigs(if there are any) Music played is general covers mostly from the 60’s to 80’s.

Not sure if this should be in the BB forum or here. Has anyone changed the output jack socket on these basses? Mine has got to the point that the slightest cable movement and the jack plug (Neutrik) just falls out. I realise you can loop the cable through the strap etc but are there any other types of sockets that would be more of a direct fit ie: switchcraft. Or perhaps a new Yamaha type would have a better grip on the plug. Changing it is no problem but need to find one with having to “bodge” the body work. And while we’re at it, anyone swapped out the PU switch for a second volume pot, as per the new 43* series. If so can you get a more varied blend between the PU’s as per Jazz bass?

Thank you for the reply but the SMX send and return sockets don’t act like SM7’s unfortunately. Theres a component ,looks like a triac on the main output board which even though it has a large heat sink you could fry eggs on it after the amps been on for a few hours. Been looking for dry joints on this board.

I thought it must be , as the sockets don’t do a make and break on the circuit board. Thanks for confirming this.

I’ve not had the opportunity to try the bass at serious volume through it as yet. I was using my GB Spitfire 5 string. The bass certainly sounds OK through mixing desk into headphones. Looks like I’ll have to take it to a rehearsal and thrash the living daylights out of it but with backup amp and bass. Certainly wouldn’t trust it at a gig.

Thank you for the reply. It would appear on this head the send and return jacks don’t break a circuit when jack is inserted . Though the foot switch jack does break circuits so I’ve cleaned them. Still the blasted original won’t appear.

Trace Elliot 250/300w SMX head fitted with the updated Clive Button mosfet output module.(1999). Now I must admit I haven’t gigged this amp for a couple of years but at a couple of rehearsals all was well, but. Theres always the “but” , at a gig on the weekend, during the second half I suddenly found all the bottom end had gone from the Markbass 210 and the bass just about still there with a popping crackling along with it. Then without a chance to “waddle” (tech term) any plugs etc back it came unfortunately this continued to the end of the night. Luckily it happened only a few songs from the end. Having now had it on soak with a cd running through it all day, of course it won’t go wrong, no noise even when bass shoved through it. Now checking for dry joints on the main output board. Anyone had this intermittent problem with a Trace? I can’t see it being a speaker problem as once they go they tend not to bounce back but stay popping and *arting. A repair man’s nightmare,intermittent fault. Is it time for its retirement if so what to replace it with I do like the Trace sound, it works well with my GB and Yamaha basses?

You’re right 3/16. Now things go from bad to worse. On putting new strings identical to the original D’Addario’s , the nut has broken on the B side. Perhaps a difference in diameter of nickel and steel, seems odd. New nut or glue.

Thanks for reply, now where's my 4mm gone?

Not sure whether post here or in "tecnical". Whats the truss rod allen key size on bb425, i e tried a couple of 5mm but they appear a tad too big. An old imperial 5/16" works but its loose fit. Surely Yamaha would not have their own size ? As far as im aware its the original rod ie: two way adjustment. Thanks in advance.

As a newcomer to the BB range. I've had a new 435 which is according to Yamaha blurb fitted with XL170SL nickel strings. I personally didn't like the sound and the "B" felt like a rubber band. I am used to a 35" scale bass which even though fitted at the mo with a 125 Mark Bass string is a lot tighter. I sent the 435 back but then purchased a secondhand 425. I changed the strings on it to a set of D'Addario XL 135. The 135 "B" is a lot better than the 130 supplied with the XL 130 set on the 435. The tone of the 425 is also different to the 435 and in my opinion better. But unfortunately the tone is always relevant to the owner. Ceramic PU's as against Alnico on the 435. The 425 just seems a bit more edgy but still has a fat low end. If weight is important the 435 is the lighter. Those with more experience of the BB range will surely throw another spanner in the works. My 425 is a keeper.

After chatting to D'Addario, they state that Yamaha BB425 bass recommends the EXL170-5 Super Long string due to the through body design. They seemed to think that the taper of the string would be on the wrong side of the nut and not give the string a decent sound with the EXL165. I pointed out that even with strings through the body the taper of the EXL165-5 is past the nut. I would therefore have thought by using a Super Long string that the main outer string winding would then be wrapped around the post. This usually normal for A, D and G and sometimes an E string. But wrapping a B string outer layer around the post? Is this what people do on BB range 5 stringers. Perhaps I should have tried to post this in the Mega BB section. Thanks to those that have answered.