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Everything posted by Silky999
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This is my used Streamliner that I have gigged about 5 times since I’ve had it. I’m thinning the amount of kit I have so take this opportunity to get an amp that doesn’t come up for sale very often and is now discontinued. It comes with its GB bag and original manual. I have replaced the blue leds that had failed which is a common fault with these amps. This doesn’t affect the workings but I prefer to have everything as it should. I have cleaned the fan and internals. The pots have been cleaned and lubed. Comes with a power lead so all you need to add is a speakon to whatever your cab takes cable. There are some very minor marks on the amp as you would expect from a gigged piece of kit but nothing awful or horrific. The previous owner has scratched a small mark on the surround to some of the pots to show where he liked to have them set but you have to be really up close to see them(see photos) Collection only from Bracknell RG12 or I’m happy to travel to meet at a reasonable distance for the right money. You are welcome to give it a play on pickup. Any questions, please ask. This is the manufacturer blurb; The new Streamliner™ design from Genz Benz is taking the lightweight amp design into a new arena, using the superb class D technology perfected by Genz and combining a new preamp section.. The 300 volt All Tube Class A preamp design is driven by three 12AX7 preamp tubes utilising six gain stages. The preamp design features an intuitive and highly effective tone network which is a unique blend of a modified passive Baxandall network for the bass and treble along with an active tube driven mid filter with selectable mid frequencies. The versatile all tube preamp exudes a fat and rich tone that remains articulate. It can be used to simply add warmth to your natural tone or it can be dialled in to provide a wide range of natural tube overdrive. Along with our preamp design that rivals that of many classic tube amplifiers, the STREAMLINER™ amps also features our proprietary 3 Dimensional Power Management analogue technology. Our 3DPM™ adds heft and girth to each individual note, while enhancing the amplifiers responsiveness and headroom. It provides the dynamic and 3 dimensional tone and feel of an all tube power amp design. With its solid extruded aluminium panels, CNC machined solid billet aluminium faceplate and smooth-radius edges the STREAMLINER™ 900 chassis emanates the ruggedness and strength of a world-class touring machine. This brushed aluminium chassis is finished in an anodised Tungsten finish. The powerhouse behind the Streamliner™ is a Class D amplifier and SMPS module, enhanced with our Patent Pending P.H.A.T. (Proprietary Heat Abatement Technology) topology. This delivers robust and reliable, high output performance in a tremendously compact and convenient package. Simply put, this new design offers a more streamlined approach to finding your voice, yet it still carries forth the GENZ BENZ reputation for performance, reliability and innovation. FEATURES •STM 900 - 500 Watts @ 8 ohms; 900 Watts @ 4 ohms •STM 600 - 375 Watts @ 8 ohms; 600 Watts @ 4 ohms • SMPS and Class D power amplifier design • Class A Six Stage Tube Preamp (3 x 12AX7A Tubes) • Modified Passive Baxandall EQ for the Lows and Highs • Active Tube Driven Mid EQ • Selectable 3-Position Mid Frequencies: 220, 600, 2.5K HZ • Input Mute • Hi Gain switch • Master Volume • 3DPM™ Power Management • Patent Pending P.H.A.T topology • Full Direct Output Interface • Effects Loop • Headphone Input • Aux. Input • Dual Speakon Outputs • Variable Speed Fan Cooling •Patent Pending P.H.A.T. topology •Weight:900 6.5lb (600 6lb) •Size: 3 1/4" x 10" x 11 7/8"
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Are combos allowed in this club? If so; Original(1999) ABM C115 500 combo and VS115 200 cab
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Any experience of band members in the police service?
Silky999 replied to Len_derby's topic in General Discussion
Ah that’s the other thing…….the raft of restrictions on their private lives including officers having to get permission to live at a different address(I kid you not!), not getting into debt and being held to a higher standard of behaviour off duty, she will have to declare the band work as a business interest and get it authorised if she gets any kind of reward for it. That could mean paid gigs, free drinks etc. As to seeing or smelling illegal things whilst at gigs…..I become very short sighted and nose blind. The only reason I’m there is because the band is playing so unless Pablo Escobar is running a drugs cartel from gig, the band are like the 3 wise monkeys. -
Any experience of band members in the police service?
Silky999 replied to Len_derby's topic in General Discussion
To add some perspective, the band I’m in consists of 3 police officers and a paramedic. We seem to be able to make it work using a mixture of leave and rest days. The 3 of us that are in the police have roles not doing nights and 2 of us have zero chance of being late off which helps. Police regs stipulate you have to have your shifts published for 12 months in advance but they can get changed at short notice for stuff, less so if you’re not public order trained. The Paramedic has the most trouble due to not having a shift pattern set in stone. Getting together for regular practices is more difficult than gigs but again we make it work because we enjoy doing something completely different to our day jobs. We have 3 gigs lined up for December. If someone wants to book us then we don’t commit until all the band have checked their shift patterns and booked leave etc. People seem perfectly ok with this. For the OP, I suspect your drummer will be ok with a little planning and common sense. I wouldn’t book a gig to start at 8pm if she’s off at say 6pm….just in case she’s late off. It’s quite easy to be 4-6 hours late off duty when you are on response shifts. My longest day was 17 hrs. If the drummer wants to play and be part of a band, she will make it work and if band wants her as part of the band, they will it work. -
I had a good result with Liberon finishing oil on an un-stained alder bodied Warwick using the hand sanded slurry method. It really is a little and often approach allowing the coats to dry and working your way up the grit of wet and dry paper From this; To this; I found very therapeutic for my mental health to spend an hour each day oiling and sanding.
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Those Katanas are surprisingly loud given the size of them! So I have made contact with Richard on here and hopefully will soon be the proud owner of an Ashdown ABM C115 500 combo later this week. This is one of the original ABMs which I believe were made in the UK before being outsourced to the East. It fits the bill of what I’m looking for which is a bullet proof, reliable, decent sounding and powerful combo plus I love the fact it’s got some history to it. I know it’s not the lightest around but it has wheels and I have a ramp into the van lol. I did toy with the idea of getting a smaller cab for the Streamliner than the Peavey 810 and GRBass 410+ I already have but I also fancied having a bit of a change of tone/sound option available as well. I like the idea of having an alternative separate rig and the one Richard is offering for sale on here is just too good to pass on. This also appears to be a good starting point for a foray into Ashdown which I have used a couple of before at the local rehearsal rooms and enjoyed the sound.
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Sold Ashdown ABMC115500 Combo in great condition
Silky999 replied to richardd's topic in Amps and Cabs For Sale
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I saw that and think it would fit the bill perfectly. I’ve given Richard a PM to see if it’s still available and if it is I’ll snap it up.
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Lozz…….210, 410, or 115……does it make a difference?
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I’m after a second hand combo for home practice, rehearsal and smaller gigs. I’m in a covers band with 2 loud guitarists playing rock and pop but nothing heavier than Foo Fighters lol. Budget is around £200-250. I have a GB Streamliner 900 and cabs for bigger gigs so a combo that is portable is a must so I actually want to take it out the house. Ideally I like to be able to keep up with a Boss Katana 100w x 2 with none of us going through the PA. So far I have looked at a Blackstar Unity 120, EBS Classic Session 120, some Peaveys and some form of Ashdown. I have had a unity 500 before and stupidly got rid of it so I know I like the sound. I have also played through various Ashdowns and like them as well. I’m not a brand snob so have no issues with a good recommended used Peavey or similar. I accept that older combos are less likely to be as portable as new ones from a weight point of view. Would 120w of the Blackstar or the EBS be enough through a 12”? if not how much would be? I don’t mind more watts as long as it’s fairly portable but don’t want to be left wanting more in my battle with the guitarists lol Is there a silver bullet of a used combo out that I should be looking for that would be the best bang for bucks and meet my requirements? Any options gratefully received……….
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So some photos; before charging the dots and after 5 seconds on each on.
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I’ll take some and get them posted.
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I had exactly the same issue with my Streamliner and used 3mm 3v 30mA blue led diodes that I got from that well known online auction site. These are still going strong and I went for a smaller led as I didn’t want the blue lights to be too bright on a dark stage. I completely agree that you need to be confident in de-soldering and soldering on PCBs and have the right equipment. The diodes are mounted through the PCB and have to be de-soldered to remove. I used a solder sucker, a solder workstation, decent solder and flux. The diodes also have a positive and negative side and need to be mounted in the correct direction on the PCB. If you burn the PCB then you will, as Downunderwonder said, end up with a pile of scrap as you will struggle to find spares. Having done it once, I wouldn’t risk it again if mine failed in the future. It really is a fiddly job fraught with pitfalls. if you are in any doubt as to your abilities then I would find someone who is competent in PCB soldering and pay them to do it.
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I fitted these to my 2 Ibanez basses today and despite my initial concerns about drilling out the old dots, it went surprisingly smoothly. I was struggling to see the side dots on a dark stage even with my new glasses lol. I’m really pleased with the results and they actually look as if they were original and work an absolute treat with very little charging. I went for the super bright in blue and ordered from Japan from the official shop. The size was 2mm on both basses so I ordered 2 x 60 mm lengths. Delivery was about 5 days. The 60 mm length was more than enough to do all the side dots on one bass with a little left over. There is a really good video on YouTube where the chap uses a drawing type pin to create a pilot hole in the dot then a wood work drill bit by hand. I used a 2mm Brad point wood work drill bit and initially just hand turned the bit to drill out the existing dots as in the video. I then got a little more confident and used my little 10v Dewalt drill at a very slow speed. I don’t have a pillar drill which would obviously be the desired tool of choice. I drilled out about 3-4mm. I didn’t pre-cut the luminlay but just dabbed a drop of superglue on the end, inserted in the hole then trimmed as flush as possible with a Stanley knife. My other concern was sanding the new dots flush without marking the neck. I did try masking around them but this was not very effective so I found that cutting as close with the blade then a gentle sand with some 800 wet/dry then 0000 steel wool to tidy up. A drop of Nomad fretboard oil and all done. If I did another bass, I would get some decent side cutting snips to do the majority of the trimming rather than the Stanley knife as I slipped once and nicked the edge of the fretboard. A very fine flush cut razor saw might be another option. I can’t imagine a luthier would charge a huge amount to do the job if you were worried about doing it yourself. I also ordered the Luminlay torch but they work fine with being charged with a normal small torch.
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This is what the manual states; GAIN SWITCH – This switch sets the gain sensitivity of the preamp gain stages. With the switch set to the IN position and the Amber indicator LED illuminated, the gain stages are set to a higher sensitivity, driving the preamp gain stages harder, producing more harmonic content and overdrive. The degree of overdrive will depend upon the output level of your bass guitar pick-ups and preamp as well as your playing style. This switch should be used in conjunction with the Gain control for setting the overall gain structure of the preamp. This switch can also be used as an Active/Passive switch. The lower gain position is more suitable for high output level active basses and a cleaner tone. GAIN CONTROL – This control sets the input gain of the 12AX7 TUBE preamp. The volume of the signal is then controlled by the Tube Preamp Volume control and also the Master Volume control. Note that overdriving the input tube gain stage may be a desirable tonal characteristic of your playing style. This control, in conjunction with the Gain switch, Preamp and Master Volume controls, allows you to set the amount of tube overdrive or clean tone your amp produces. PREAMP VOLUME CONTROL – This control sets the volume (and make-up gain) of the preamp after the Input and EQ stages but before the Effects Send jack. Use this control in conjunction with the Gain and Master Volume controls to achieve the necessary gain structure for your playing and music style so I think yours is working as it should….
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I have the same amp. Try swapping the tubes around and see if the problem moves. The top is very easy to take off with an Allen key but makes sure you let the valves cool down and unplug the power between changes. If the problem moves then you can identify which valve. From left to right if looking at the front…1st is gain, then bass and treble, 3rd is mids. Sometimes just pulling a valve out and re-seating it is enough to get it working again. I think the standard valves are a JJ ECC83S and 2 Ruby ECC83 in that order. Aged Horse is the man with all the knowledge of that amp and gave me advice about changing the broken blue leds.
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I found a 2nd PAT machine on an auction site, got some stickers which came with a disc with certificates on to print off. The physical checks are the most important and I suspect most of us take pride in our kit and know it inside out so would change a cracked plug or exposed cable without a thought. I also do the PA bits for the band and test the other members amps etc. we get asked for certificates about 3-4 times a year so it has paid for itself. This is from the HSE website; Is Portable Appliance Testing (PAT) compulsory? No. The law simply requires an employer to ensure that their electrical equipment is maintained in order to prevent danger. It does not say how this should be done or how often. Employers should take a risk-based approach, considering the type of equipment and what it is being used for. If it is used regularly and moved a lot eg a floor cleaner or a kettle, testing (along with visual checks) can be an important part of an effective maintenance regime giving employers confidence that they are doing what is necessary to help them meet their legal duties. HSE provides guidance on how to maintain equipment including the use of PAT.
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I run an XR18 in the way you’re thinking of and use 4 of the aux outs to run our IEMS with the main outs to our PA. We only use the cheap Gear4music systems for the guitarists and bass and a hard wired Behringer headphone amp for the drummer. It works well for us and the ability to have individual mixes is a real plus. At some point, we will upgrade to some better IEMS like Shure or Sennheiser but you’re talking £££ to kit a band out and the gear4music/takstar is ok for what we need.
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Thanks for the advice folks. I like the EB cobalt flats and I know they’re a trade off between the feel of a flat but with the bit of an extra zing. I did try the bass with some rounds but it sounded too much the other way but that might just be the difference from flat to round. The amp point is well made as the Streamliner does have a tendency to be bass centred. I used a Ashdown RM at the practice room this week which was better but not massively. The bass is relatively new to me so perhaps I need to do some more experimenting. Thank you for the points to mull over.
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So I’m thinking about an upgrade preamp for my SR1000 EFM Prestige. The Bartolini pickups are custom and not a standard size so changing the preamp is the easier option. Do I go Bartolini to match the pickups or East Unipre? I have had both before in different basses but never with Bartolini pickups. Does anyone have experience with the Ibanez Prestige range with the custom pickups and pairing it with either preamp. I play in a rock/pop covers band so need something that covers a multitude of tones from smooth to aggressive. Overall I prefer a more modern sound than an old school thump. At the moment, I would describe the bottom end as sounding a little mushy and too prominent. I’ve tried dialling the bass back both on the bass and my Streamliner 900 but then the tone just gets top heavy. I’ve also tried adjusting the pickup height to see if that calms things down but also to little effect. I’m using EB cobalt flats as I like the slighltly worn in roundwound sound, feel, longevity and reduced string noise. I’m edging towards the Unipre due to its sheer versatility but wonder whether a full Bartolini setup would sound better? Let me know your collective thoughts and any opinions/advice appreciated……. …
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Some VERY good news at last - live music back by the Spring?
Silky999 replied to Al Krow's topic in General Discussion
We did a evening wedding party last weekend. It was outside in a marquee with the sides off. Apart from being blisteringly hot, it was lovely to do something normal again and see people having fun. It was an older crowd so I suspect most had been double jabbed and we are so I felt comfortable with the setup. Also like Chris_b, I haven’t stood up for a whole evening for a while and that along with setting up and taking down played havoc with my back. Next gigs are a joint family party for my 50th and belated 21st for my eldest in a village hall followed by a small festival and charity gig on bank holiday Saturday. We play the festival in the afternoon and then straight to set up for the charity gig in the evening. Fortunately, the festival is plug and play lol. We have had a few function enquiries as well so hopefully things are starting to look up. -
Some VERY good news at last - live music back by the Spring?
Silky999 replied to Al Krow's topic in General Discussion
We have postponed a charity gig at the beginning of July and have nothing else until August. The venue for the charity gig is booked solid from August so having a nightmare trying to tie down a date even in December. These are all gigs that are postponed from the end of June through July that have been moved forward. The venue has been shut since the 1st lockdown so I’d rather wait for an empty date than see them go down the pan through a lack of bookings. I am hoping that there will be a glut of postponed parties, weddings and functions which will go some way to save some pubs and venues. -
I will never part with the 800. I’m surprised the early ones don’t go for more money than they do. Japanese made and so comfortable to play.
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I have had a clear out and got rid of the MTD KZ4 and the Rockbass Corvette to fund this; I have decided that i just love Ibanez SRs so when this 2005 SR1000 Prestige came up that clearly I needed it! It’s my first neck thru and although it’s a Korean made prestige, it’s as close to a proper prestige as I can afford lol. I still have my 1989 Fujigen SR800LE so now to decide which is the main player.
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Some VERY good news at last - live music back by the Spring?
Silky999 replied to Al Krow's topic in General Discussion
You lucky devil! I can’t wait for our first one in July. We are doing a charity gig for a charity that supported me when I went a bit mental with PTSD due to work. Paying it forward and all that.....