Jazzjames

[quote name='discreet' timestamp='1447008908' post='2904151'] That would explain a lot... does this mean the TH350 is actually a 500W+ amp? If so, it represents something of a bargain... [/quote] No, the TH350 is a 350w amp, like it says. The TH500 does have the B&O module in it that can be used for more than 500w, but all it's putting out is 500w. A well voiced and punchy 500w at that. If you want more volume, get more speakers.

Without having looked at the back of a Markbass tube 500, perhaps the 600w rating is the watts it will use when plugged in, and not the amount of watts that it will deliver to the speakers? Stuff breaks...it sounds like the speaker was defective. In future, just listen to your rig if you're playing loud, it will start to fart out before you blow a speaker. If it's farting out, take some of the low end out, and/or turn down the volume.

Aguilar Tonehammer 500. You can get them second hand easily enough, and it does an awesome job. I've used it on everything from jazz gigs for 30 people to 5000 people outdoors. The controls are straightforward, and it really works well in a band mix.

They're both good, I've played them both on gigs, it's just finding one that you like the feel of. For me the Sadowsky preamp was a little more subtle, but both basses have massive amount of control over tone. You want an active jazz, right? Saying all that, if I were in the market for a Jazz bass, I would check out some Mike Lull jazzes, as they are around the same price as the Sad and Xotic, very nice to play and sound great. I have a mike lull PJ5, and it's a lovely thing to play. All I would say, is play the bass before you buy it. Every bit of wood is different and some basses play much better than others with identical spec.

Herbie Hancock, Ron Carter, Tony Williams. " '64 concert " aka my funny valentine & four + more.

I haven't read all the thread, but my advice to people who are depping in function bands is, learn the music. Many function bands don't use charts as it looks a bit lame, and then everyone's heads are out of the music stands and playing more together. When I first started getting asked to dep for a couple of bands, I got sent a list of tunes, and I didn't know say 30 of them, now, I only need to learn maybe 2 or 3. You just accumulate tunes as you get more experienced, and it gets easier. If you want to get asked back, do your homework. It may seem like a lot of work for only a £150 gig or whatever, but in the long run it will be noted that you're a reliable guy who cares the gig. I wholeheartedly disagree with the sentiment present in some posts that 'punters' (hate that word) don't care about the music, as long as it's recognisable. You never know who's in the audience. I'm glad on several occasions that I've done my homework on a gig that didn't look very promising, and has resulted in some very cool gigs. Worth thinking the long game. Obviously, use your common sense, if you live in London and you're getting asked to learn 40 obscure tunes for a £80 gig in Skegness, finishing at midnight, no expenses, you can tell them 'no thanks!'.

I have a tonehammer 500. I think the light is when you drive the power section close to clipping, not the preamp. Turn the master up enough and you'll see it come on.

Thanks for the responses! JTUK I'm not wanting for volume with my TH500, it's plenty loud enough when I'm running it at 4 ohms. I just wonder having a different amp with a different power amp would change the character of the sound delivery. Loz196. Thanks for the different opinion. I've had a look at the manual for the SVT 3 pro, and a lot of their sample settings feature having the master at 10 and controlling the volume with the gain, so I think it doesn't operate like many other amps, where you turn up the preamp to just before clipping, then set the master to your desired volume level. Do you feel the SVT has more control of the low end at higher volumes than the tone hammer? Why exactly do you think it works better for you? BassBod, I've tried putting a Monique into the FX return on the tone hammer. It was a tiny bit fuller for sure, but with a bit of EQing on the tone hammer, I could get extremely close to the sound. I think the power amp is very important in conveying the sound of a pre amp. I used to have a sans amp, and I found that it sounded great whilst playing alone, but it felt very compressed and unresponsive live, so I sold it on.

Hello everyone, This is quite a broad query. What opinions do you have on the Ampeg SVT 3 Pro? Right now I'm using an Aguilar TH500 with 2 DB112 cabs. It's lovely and loud, punchy, but not the last word in sophistication. I played though a V4B and 212AV a while ago and the tone was just a little more mellow and 'expensive'. I don't really want to spend near enough a grand on the V4B which will probably not give me the clean headroom I need at gigging volume. I'm considering a SVT 3 Pro as it's got some tubes in it to sweeten everything up, and (without starting a 50 page mega thread) the SVT 3 Pro has a regular MOSFET power section, not class D. I don't want to get rid of the Tonehammer as it's awesome and sounds great, and is naffing loud, I just want something that goes moderately loud, which has a bit more detail and sophistication to the sound, for those gigs where tone is important. I have also tried the Monique 700 rack mount, but it's probably a bit pricey for me, but I could save up. Any opinions welcome! James

I'll check it out! Whilst we're on the topic of John Patitucci, be sure to check out Jon Cowherd's album 'Mercy'. I could only get it as an MP3 album but the music (Jon Cowherd, Bill Frisell, John Patitucci, + Brian Blade) is so melodic and uplifting. Also, out TODAY is The Children of the Light record by Danilo Perez, John Patitucci, + Brian Blade. Haven't listened to it yet, but I will do later.

[quote name='Bilbo' timestamp='1441961573' post='2863233'] Nice work, James. A great album and I agree with you regarding the sax/bass/drumd trio format. My own band has that set up. Did you see my Pattitucci transcription 'Long Story' on here? http://basschat.co.uk/topic/141768-john-patitucci-transcription/page__hl__mistura__fromsearch__1 [/quote] Yeah, way out west by sonny rollins and damaged in transit by steve swallow are two of my favorite albums. That transcription looks great. I'm on my phone right now so I can't check it out and listen at the same time but I will do soon. Looks great.

[quote name='ChrisDev' timestamp='1441960946' post='2863222'] Thank you!! I have added your page to my link page (under "transcriptions") http://basslessons.be/links.php [/quote] Thanks! I will try to do one every few weeks.

Hi All, Just thought I'd let you know I've got a new blog entry, and this month it's on a bass solo by John Patitucci called Blues for Freddie. You can read the transcription and my thoughts here: http://jamesmorganbass.com/1/post/2015/09/02-john-patitucci-bass-solo-on-blues-for-freddie.html Enjoy. James

Bernd bought my Tokai jazz bass. The deal was easy, thanks Bernd! Enjoy the bass.

[quote name='KiOgon' timestamp='1440353655' post='2850039'] In spite of all the technobull you are the one playing it - can you hear hear any difference? Or you could 'phone a friend - even ask the audience [/quote] It sounds like a P bass to me. I was just curious. I do tend to have the J pup on a little bit to help add clarity to the B string. If i were to buy another though I'd probably at least try just the straight P5...

Hi Travis. The p pickup i believe is in the 'correct' position, and is the same on the P5 or the PJ5 that I have. And for the people that have asked, the controls are the normal vol/vol/tone. I did play another pj5 that was actually vol/blend/tone. I prefered my bass but probably it was more an overall impression, not just because of the wiring differences. And regarding the magnetic pull from the J pickup- it's hum cancelling so the draw is quite weak compared to a true single coil, no?

Thanks for all your answers guys, very interesting.

PJ basses.. does having a J pickup change the sound of the P pickup? What I mean is, when the J pickup is turned all the way down, would the bass sound different than if there was no J pickup at all? Is there any electronic reason for it sounding different? FYI I'm using a Mike Lull PJ5. And to make the thread more interesting here's a picture... Thanks in advance for your thoughts. James

[quote name='Beer of the Bass' timestamp='1439638755' post='2844574'] Now if they would just do a 100 watter for just a little less in a slightly smaller box, that would be very appealing indeed. [/quote] yup!

Hi all, I've got a new website at www.jamesmorganbass.com Let me know what you think! I've started a blog. Each month I will upload a transcription that I've done, along with a short analysis of some things that caught my attention whilst I transcribed it. The transcriptions will predominantly be bass lines and solos, but other instruments will also appear from time to time. This month it's a Pino Palladino transcription from Vinnie Colaiuta's solo album on a composition entitled "Private Earthquake_Error 7". If you have any thoughts, let me know. I hope you enjoy it. James

Those new rumble combos do sound very nice indeed. Seems to me like one of those would do a good job for you. Not to heavy either which is a bonus.