LawrenceH

I think the body is a real Fender Jap apart from possibly the metal knobs. The stamp on the neck pocket is typical of Jap basses I've seen/owned and it has the appropriate shielding with no cheapskate routing aruond the pickups. Not overly familiar with their various models, but a 62RI made for export? If they ever did that, that is! The neck I'm not sure about but it's typical for Jap Fenders to have tuners which have a smaller footprint on the back than the old-style standard ones. My very similar 85 Jap jazz has that, as do others I've seen

[quote name='JTUK' timestamp='1335696960' post='1634626'] FWIW, my opinions of those boxes are that they are pretty much one trick ponies...which isn't the worst.. but if you can't get your bass to work with them you are stuffed. [/quote] I find that with all the EQ options and the compression they're one of the most versatile solid state amps tone-wise. Often too many switching options actually, can be hard to tell what's switched in and out! First thing I do is find the pre-shape and get rid of it since that just seems to override everything else. After that, play with the graphic to suit whatever bass I'm using. Their speakers can sound a bit tired compared to modern kit though.

Alternatively, I'd be interested in giving the coated Ernie Balls a go if anyone knows a local stockist? EDIT: Ah cheers Ou7shined, only saw your reply after I posted mine!

Hi all, If anyone knows where I can buy some fresh DR Black Beauties (4-string) in Edinburgh then I'd be very grateful! I've realised mine are, finally, totally dead and I'd like a new set in time for a gig on Monday. Thanks in advance! Lawrence

My Aerodyne J is superb. Bought to sell on as it was at too low a price, couldn't bring myself to do so, so the neck's now off and defretted to justify keeping! It's the 'export' version, which I have to say looks to me a whole lot sleeker without the scratchplate. Lovely feel to play and a monstrous 'fat' jazz tone.

Jam nights are all round the best way IMO, if you're in an area that has some.

Active bass with dying battery dropping output voltage? Can do exactly this.

Daphne blue is a fair bit darker/bluer than sonic blue...both good colours though!

I've sprayed Halfords acrylic and plastikote over 2-pack poly (factory) with no problems whatsoever

[quote name='JTUK' timestamp='1332796210' post='1593361'] Of course, there are certain problems at times, but maybe it is because I am too old to put up with it. If I can't do it properly from my POV, and that means as good a stage sound as poss then I'd pretty soon not bother. don't talk to me about my last gig ha ha !!! [/quote] That's the problem though, there's always that odd gig, apparently even when you're Muse! I agree it's so much better to have good (not just 'passable') sound, but I feel from a personal pride point of view that I need to be able to cope with those other times, plus if I know I can it makes me more relaxed whatever the gig, if that makes sense. I'll still look for the best sound I can get in any given situation though.

[quote name='Ou7shined' timestamp='1332411381' post='1587805'] Here's a good way to kill 5 minutes... [media]http://www.youtube.com/watch?v=TPfR9uH8vlg[/media] [/quote] That's fascinating - they check each wire under a stereo microscope?! Presumably that's just a single short sample from a really long wire or the'y need about 1000 times more workers looking into microscopes than at any other point in the factory!

My Markbass F1 seems pretty good, though I've heard reports of them developing clicks. With a lot of amps, as much as quality it's going to come down to age/usage since the bearings will unavoidably wear over time, if I had a noisy fan I'd probably look for a replacement part, preferably spend a bit more on one using nice bearings - still shouldn't be too pricey

[quote name='JTUK' timestamp='1332794082' post='1593303'] That is why the Muse train wreck went on for as long as it did.. [/quote] Interesting, not being fussed either way about Muse I've not heard of that - sounds painful/amusing. Perhaps an example of how, if you're used to excellent sound, then problems will throw you more as it's not an aspect of performing that you've rehearsed? I think bands that are more used to crap sound work out different ways of dealing with cueing issues etc., I've definitely worked with a real range of people in that respect I find gigs with audibility problems can be really hard work, and I don't enjoy them as much as a result, but I still want to be able to manage at them because on some circuits it's an unavoidable reality.

Does putting together a custom spec rig using a studio pre plus PA components count? You could fairly easily spend over £10K on that kind of rig if you desired...

Don't take this the wrong way, but it might be worth checking your ears if you've been playing loud for a long while. A lot of musos pick up on hearing problems because of 'deficiencies' in their tone

[quote name='Bill Fitzmaurice' timestamp='1332505729' post='1589245'] The center of the panel is the most important bracing point, as it's where the panel is subject to the greatest flexion. The cabinet should be fully lined to absorb all internal reflections. BTW, greenboys text is very well done, and I might add that it reads better than my Omni cab plans that was the original source. That would be the same cab that I built in both spline and cross braced versions to confirm by measurement which bracing scheme worked better, and by how great a margin. [/quote] On the flip side the Omni is a structurally unusual cab, it's much more asymmetric and the design is already inherently heavily braced thanks to the horn and internal baffle compared to a typical nasty box, not necessarily the most relevant comparison. In a more typical scenario a cross brace right into the centre of a panel would presumably damp the lowest mode but set up a symmetric pattern of vibrations above this, which can reinforce thanks to the symmetry. In the real world though any bracing at all is a lot better than none and I think a law of diminishing returns applies quite quickly - plus, shift the resonance higher and it's easier to absorb anyway. I was actually surprised how little subjective difference damping appeared to make in a braced, tweeterless cab I built recently - much more important for full-range and hi-fi use I think where the HF (although unaffected directly) gives 'context' to what you're hearing lower down. But perhaps that was also partly due to all the bracing which made the inside highly asymmetric anyway!

I'd start by checking the height adjustment screws are all in firm contact with the bridge plate.

You fool Pete! Didn't you stop to think that this song about doing cool stuff is really meant to be a soulful, heart-rending ballad bemoaning the intangibility of fashion and the agonies of mortality? And not fun in the slightest? How dare that fat idiot Marcus Miller come along and cheapen it like this by playing fast and incorporating a degree of treble in the tone of his BASS guitar. All frequencies above 800Hz are henceforth banned.