LawrenceH

[quote name='Ant' timestamp='1326707729' post='1500620'] my preamps offer jack output but would it be as simple as getting jack to XLR instrument cable to go between pre/power amps? [/quote] The basic answer is yes. The complicated answer is that Crown amps have relatively high voltage requirements on the inputs if you want to get the full wattage out. Make sure your pre is powerful enough to drive it adequately, otherwise a different pre or a different amp with more sensitive inputs would be a better choice.

I was surprised to see that there were no reviews of the Model Js already posted on here. There are plenty of reviews out there already, but I thought it might be worth doing one focusing on the wiring/passive electronics side of things. There is a techy bit in the middle for those that like that... I recently installed these in an ash CIJ 75RI with maple fretboard. Previously this bass was ok but despite the alleged US pickups the tone somehow lacked authority across the spectrum, with neither the solid bottom nor the aggressive growl and upper-mid clank of a really good jazz bass. Swapping the originals with some MIM 'vintage' alnicos as used in the HWY1 and 'Classic' series improved things somewhat (I think these are great trad-sounding pickups), but I still felt it was a little lacking compared to the snappy acoustic tone of the bass. Throughout all the changes, the strings remained the same rather ancient (2 years now?) DR Black Beauties. Not the toppiest string to start with and now very very worn. I much prefer old strings when auditioning basses, makes it easier to judge the contribution of the bass/pickups etc. I went for the 'creme' option, the adjustable matte-black pole pieces make this extra retro snazzy, or a horrendous eyesore, depending on your taste. As other users have noted, the large ceramic magnets on the base of these pickups make them stand a good deal taller than alnico equivalents. At first I was worried they wouldn't fit at all, but after removing the Fender pickup foam and replacing this with a thin sliver of the foam the DiMarzios were supplied in (as recommended in the installation instructions) they dropped in just far enough to allow me room to adjust the height to taste. The DiMarzios are split-coil 4-wire pickups, allowing you the option of series or parallel wiring each pickup [i]separately[/i]. This is different from the jazz 'S1 mod' where a [i]pair[/i] of pickups are giving series/parallel wiring between them. I initially chose parallel wiring, and the tone of the bass was far more 'solid' with more bottom end and low-mids in particular. However, I still wasn't completely satisfied as I like that jazz top-end bite, so last week I set about making more mods. Before going any further, here is a link to a very good explanation of how pickups shape tone (mainly focusing on the high end) and how the different electronics options interact with this: [url="http://buildyourguitar.com/resources/lemme/"]http://buildyourguit...esources/lemme/[/url] The take-home messages in relation to this review are: -That [b]pickups have a resonant peak before cut-off[/b], ie they emphasise characteristic frequencies in the upper-mid/treble range. -Pickup inductance determines the frequency/Q of the peak. You can adjust the [b]frequency[/b] [b]downward[/b] by increasing capacitive load or by [b]switching the wiring from parallel to series[/b]. This latter will [b]halve[/b] the resonant frequency of the pickup as well as boost overall output. -Adjusting the resistive load by changing [b]pot values[/b] alters the [b]height[/b] of the peak (Q). DiMarzio's 'standard' wiring, as far as I can tell, is series, and their standard recommended pots are 500k whereas those in my Fender are 250k. My parallel wiring will give a higher peak frequency than the standard but the Fender pots will reduce the peak height. So I decided to install 500k pots to raise the height (not frequency) of the resonant peak, and decided that if I was going to bother I may as well use push-pull (DPDT) volume pots so I could switch each pickup independently between series and parallel. Rather than the fantastically expensive DiMarzio push-pull pots, I used cheaper alpha pots from StewMac in the US (since I was ordering some other bits and bobs anyway). DiMarzio helpfully have lots of wiring diagrams for various configurations, I used this one but altered it so series engaged with the pot out rather than in: [url="http://www.dimarzio.com/sites/default/files/diagrams/pj_2ppdualsndv1t.pdf"]http://www.dimarzio....pdualsndv1t.pdf[/url] Anyway...the most important thing from my perspective is that increasing the pot values to 500k gave me exactly the effect I was after. The treble 'bite' is much more prominent while the low end authority of the bass is preserved. Tbh I was surprised how much of a subjective difference it made, that peculiar effect where the bass just feels easier to play. With both pickups on full I get a classic 70s and 80s-style jazz bass tone - more Larry than Marcus, with tons of character and aggressive enough to cut through a mix when I dig in hard. It doesn't quite have the airy extended top end of the real US Fender Vintage 75 pickups (which I have on another bass) but is very good and sounds like a Fender jazz nonetheless. Soloing each pickup gives very useable versions of the classic JB single-pickup tones. Switching each pickup into series mode, the most obvious effects with both pickups on full is an increase in volume. Compensating for this you can hear the shift in resonant peak, giving a more 'middy' sound with a bit more oomph in the bass. Where it really comes into its own is with each pickup solo'd or combining series/parallel. The neck pickup in series is instant 'Precision', while the bridge has a handy low-end boost making that 'Jaco-esque' sound useable in a wider range of situations at the expense of a little treble. The tone control also has a very obviously different character when the pickups are in series versus parallel. Overall, I think if you bother to install DiMarzios at all it's worth spending the extra at least on 500k pots, ideally on the push-pull variants. You could even use a third on the tone knob either to mimic the Fender s1 mod or give phase-reverse options, though I am happy enough as is. I may at some point try a 1Meg pot on the tone for a further small increase in brightness, but right now this is at last giving me the sounds that I've been after for a very long time. It's extremely versatile, if I had to choose one setting it would be all parallel, everything on full. But I don't have to choose, woo! Playing with combinations of series-parallel/varying volume whilst playing along with various funk, pop etc tracks, I've found it fairly easy to get a tone that's a reasonable match to whatever I'm listening to, even (to an extent) with records that use a Stingray. I am now very happy indeed with these pickups.

Rubber band around the headstock is my cheapskate, bodge suggestion!

[quote name='far0n' timestamp='1326646034' post='1499878'] See now, at 8 ohms each channel only puts out 450W. So I'm not really getting anywhere near the full load. [/quote] 'Only'?! Didn't you say you were running 2 8-ohm cabs, ie 900 watts total? I have a similar PLX2450 for PA work, even into 8 ohms it is enough to shake down walls. The 1300 watts you'd get running the amp at 4 ohm bridged (ie two 8 ohm cabs run in parallel) won't actually make it significantly louder compared to 900 watts (two 8 ohm cabs, one on each channel), especially when speaker limitations/power compression is taken into account. Before looking at new pre-amps do you have access to any mixing desks? Easiest way to check whether it's the amp or the pre that is limiting things is to DI into a desk that outputs around +4dB sensitivity, ie the correct sensitivity to drive your amp, and play through that. Even the cheap little Behringer numbers have enough to juice for your purposes (+/-18V supply on the one in front of me, for example). Problem with a lot of guitar and bass pre-amps/pedals is that they don't operate at 'professional' standard output levels. PA stuff does, so to drive a PA amp properly you need the gear to match it.

[quote name='far0n' timestamp='1326636113' post='1499740'] But I'm finding this isn't loud enough, I'm at least having to turn the rig up full whack. [/quote] 900 watts should normally be more than loud enough for anything, unless you're running tiny cabs, in which case it'll normally be more than enough to fry them! What are you using as a pre-amp to drive this? The QSC has an input sensitivity of 1.23V, it's possibly worth mentioning that a lot of bass pre-amps on the market can't actually supply this adequately. If you don't have an appropriate pre-amp then you are not getting full power out of the QSC.

Not sure of the value I'm afraid but it looks like it has the S1 switch. It's also IMO one of the more desirable models because it has the 4+1 tuner config.

The modern Vox AC4 with quarter watt setting is pretty handy for home use. The 4 watt setting sounds about loud enough for small gigs too - personally, I'd like that when doing sound. Can always mic a cab and get better dispersion to boot.

The CV Squiers are well built, don't worry about where they're made. Though the pickup is a weak spot you can change this at a later date. Personally, if I were a general in charge of an army of bassists, standard issue for new recruits would be a Yamaha, either BB414 or RBX374, and a Roland Cube of some description. The Yamahas are not only fantastic value for money, they are good basses full stop. The Cube amp is more versatile than anything else in that price range. A lot of cheap amps I've played through just destroy the timbre of the bass - worst was an Ashdown Perfect 10, sounded like playing through a duvet. The EB range are miles better - but the Cube has been the best I've tried so far. As per above, secondhand is the smart way.

Good to see the best thread on BC still going strong! [quote name='M-N-Y' timestamp='1326311976' post='1495395'] Not someone you would normally associate with funk,but this track and the album it comes from 'Aliens Ate My Buick' is a blinder. [/quote] I dunno, Dolby was a bit of an 80s UK funk-master on the quiet. Check out Magic's Wand, one of his: [media]http://www.youtube.com/watch?v=-9fjN5lUgYo[/media] Or with his own band, strangely familiar The bass tone in this is to die for IMO [media]http://www.youtube.com/watch?v=yEjpTxF2-NY[/media]

[quote name='Skezza' timestamp='1326283018' post='1494828'] Im sure you correct but is it ?? skez [/quote] Yup. Look at the spec sheet from a typical 8 ohm bass guitar driver from Eminence, B&C etc. The nominal impedance will be listed as 8 ohms. Re, which is the DC resistance, will be in the T/S specs and typically somewhere between 5 and 7 ohms. This is what you are measuring with your multimeter. The impedance plot on the driver datasheet will be a complex curve with a peak at resonance, falling to a mimimum slightly below 8 ohms around a few hundred Hz, then rising again. The actual measured impedence in a cab will be different again according to cab size and design. Despite all that, the Markbass will be fine driving a pair of these drivers in parallel in a typical vented box.

I do wonder with these roadworns what else is going on. They always seem to be light weight, and with cracking tone. The 'classic' series which is the nominal equivalent is quite good (I have one and have tried others) but not so uniformly incredible...I wonder if they are using select light bodies, or if they are thinner, or something. I've actually wondered about getting a RW just for the tone/playability, and refinishing it!

Just a thought...my default playing style is quite syncopated, I listen to a lot of funk and latin stuff and as a result push a lot of beats by a 16th or so. If I do this with some drummers who don't usually play those styles it f*&^s them RIGHT up. But funk drummers have no problem at all. Could your playing style, or someone else that the drummer is trying to lock with, messing him up? Another suggestion, practising with a click will probably be more effective if you do it in the context of recording....listening back to a recording done to a click track can be pretty brutal and speed up the learning a bit!

Maybe interesting to people wondering how much of a difference these might make... At a NYE gig where I was doing sound, the speakers were sat straight on the stage, which was contributing a lot to a boomy sound. Ringing out the monitors I found corresponding feedback centred around ~300Hz. Sitting the speakers on 2" thick stiff structural foam pads which we'd brought along 'just in case', gave greater than 6dB extra headroom before feedback. The sound tightened up very noticeably too, to the extent that I had to put some low mids back in having previously cut a broad swathe from ~200-600Hz. So mechanical decoupling can definitely be worthwhile, and I thought it's nice to have an example where you can roughly quantify the extent.

[quote name='ead' timestamp='1326288576' post='1494927'] ...assuming friction had been banned [/quote] Nope, wouldn't matter - if the energy from the string resonates the wood without altering the string's vibration then it is a self-amplifying system, so some of that magically generated energy can be used to re-trigger the string every so often to compensate for frictional losses. [quote name='Muzz' timestamp='1326293753' post='1495036'] Now we can all have a nice big row about the relative proportions of the above - I'm going for 50/25/20/5. I'm prepared to negotiate on the first three... [/quote] Depends on the limits you set though. I'd say with certain combinations the difference would be 1% or less (what is the % measuring though? Not straightforward). OTOH I choose to compare 1/2" thick soft pine cut across the grain, so that it's[i] just[/i] stiff/strong enough not to snap when you pluck the string. Versus carbon fibre.

[quote name='gafbass02' timestamp='1326269698' post='1494589'] Brilliant. All so sadly true ! Fbooked [/quote] Me too, thanks to the OP for posting this!

[quote name='Johnston' timestamp='1326045703' post='1491538'] Acoustics would be different would they not . Do they not need the wood to vibrate to create the sound [/quote] Wood makes a big contribution to the tone of an acoustic instrument, but apparently a skilled luthier 'compensates' for different wood types by using thicker or thinner sheets with more or less bracing to manipulate the variables independently. The most prized wood is sitka spruce, a type of pine, because it has a very high stiffness:weight ratio. [quote name='ead' timestamp='1326285716' post='1494885'] I think that's about right. In terms of physics, an electric bass uses the generator effect by moving a conductor (the string) in a magnetic field (the pickup) to generate an electric current. It is possibly the case that the bridge and the fret are [b]not "fixed points"[/b] so to speak and that [b]vibrations in the wood will cause tiny variations in their relative position[/b]. These variations may manifest themselves as small tonal differences that could be attributed to the construction of the bass. IMHO obviously [/quote] If the body of the instrument is resonant enough that you can hear this significantly when you tap it, then that is resonance that will transfer when the string vibrates. If energy is transferred to the body/neck of the guitar then it affects the string vibration, these are just inescapable physical facts. What matters is whether significant resonances are present in the bandwidth of the string harmonics. Construction could make a difference by increasing the stiffness/altering damping elements as with the acoustic, though generally I think there's less to play with in solid bodied instruments. Laminates will all be pretty stiff and I'd bet that a lot of guitars built by luthiers that use exotic wood combinations will be very stiff, with the pickups/pre dictating the tone more precisely as a result. But a simple maple-neck bolt-on will not be anything like as stiff, and resonances will be lower - more in the range of significant harmonic output. That talkbass thread uses a great thick lump of lumber. It's going to be pretty stiff (and coincidentally it's made of pine - like those acoustic guitar tops!). As I've said before, if wood didn't contribute to tone then dead spots wouldn't happen. Also physics would be wrong and we'd have a form of perpetual motion machine based on plucking a string. Which would be nice.

[quote name='Phil Starr' timestamp='1326186084' post='1493337'] I'd really advise any bass player to avoid 4 or 16 ohm drivers. Most of the available ones were designed as 8 ohm drivers and then offered as a service to customers as 4/16 by simply adding a different voice coil. Because the rest of the speaker was designed to work optimally with the 8 ohm coil they are usually not as good as the 8 ohm version. Guitarists get away with it because they are not so interested in the bottom octave (two if you include the one we have that they don't). Changing the coil also changes all the speakers parameters so they no longer match the box. Stick to the recommended drivers, they were chosen for a reason. [/quote] This is a valid point. OTOH most 4 ohm 410s will use 16 ohm drivers and there are some of those that work very well. Getting the correct specs for alternative ohm versins can be tricky though. That 18Sound I linked to is specifically 16 ohms though, including frequency plots, T/S data. I'd generally be more concerned using 4 ohm drivers because of the series wiring effect on inductance. Safest option is definitely to go with the recommended deltalites, but bear in mind the horn loading cut-off means you will presumably still have the low bass output capability of a good 'normal' 210. I certainly found that with the Jacks (but for a lot of people this will be enough if you like the voicing)

[quote name='jimbobothy' timestamp='1326139798' post='1492904'] The trus-rod is pretty much the same as it was before the install so I can only think that the inserts change how the body and neck vibrate in relation to each other somehow. It played really nicely before the inserts were installed, now it's not as nice [/quote] I have noticed that the necks on my Fenders will shift when I take them off for any length of time, and when I put them back on it takes them a while to get back to where they were. Giving them a good firm flex back and forth a few times seems to help. Before anything drastic might be worth letting it settle, and then re-checking the relief, action etc.

[quote name='Prime_BASS' timestamp='1326154983' post='1493217'] I would say Beethoven has a particular finesse on a piano, and has trademarks, or a style. I don't recall him ever punching the piano strings. [/quote] You saw Beethoven?! (are you Bill S. Preston by any chance? ) Interesting example though as Beethoven employed some very thick, percussive bass voicings to try and extract maximum power from the piano. His cadenzas for Mozart's piano concertos are pretty shamelessly flash too. But more than for the piano, look at great string players/composers of the past and there are a fair amount of crazy bangs, bashes and scrapes going on as the intensity builds. It doesn't make any sense at all when taken out of context. I honestly can't understand criticism based on a video that starts most of the way through whatever it is they are playing and where the audio recording quality renders it unintelligible. As I said, I'm no VW fan and I def don't want to emulate what he does (not that I could), but on the better quality vid it doesn't even sound controversial to my ears, just a modern bass guitar equivalent of something like a classical study piece.

For acoustic-y gigs where you want a discreet little combo that can also perform, there is nothing more unobtrusive than those tiny AER bass amps. They are surprisingly powerful, and very well made.

[quote name='silddx' timestamp='1326068620' post='1491996'] We know Victor is a fabulous and immensely musical bassist. The questions surround the athletics audience, and perhaps dear Victor's monetary exploitation of their needs. [/quote] Not sure I get what you're saying. Athletics? Also, are you complaining about a musician playing for money? In the first clip, he seems to be playing pretty well it's just distorted on the mic. More importantly though, the recording obviously starts most of the way into the music. Start listening to a Bartok sonata 9/10ths of the way through and that makes no sense whatsoever either

People do like S**t, but singling out VW, compared to all the X factor rubbish, seems bizarre to me! I'm not very familiar with his stuff, but that clip with clear sound is great. That 'fast stuff at the end' makes total sense in the context of the piece. Listen to Liszt, Rachmaninov, Paganini, Mozart, even back to Bach and you hear that sort of concluding climactic pyrotechnic element occurring time and again. I'm not saying VW is their equal, but that he's approaching the bass in this piece as a vehicle for solo musical expression and compositional development and the music ebbs and flows accordingly. The fact that you can also use the bass to lay down a solid groove is neither here nor there really.

[quote name='kennyrodg' timestamp='1326035260' post='1491315'] The cab sounds pretty good as it is but having bought it not built it I think I'll delve inside to see what the drivers are. [/quote] While you're at it, weigh them to see if a neo 'upgrade' is actually worth the difference and for which potential models. One drawback of those 18Sound drivers assuming they're more or less suitable is they're each still nearly a kg more than the deltalites. I'm pretty sure other manufacturers will have had 16 ohm deltalites at some point, there are enough 8 ohm 2x10s on the market!

BFM himself will probably be along to advise...but 16 ohm drivers does limit your options somewhat. Maybe the 18Sound 10NMB420? http://www.eighteensound.com/index.aspx?mainMenu=view_product&pid=274 Alternatively, could be worth seeing if replacement 16ohm deltalites are available as OEM from any cab manufacturers

[quote name='Mr. Foxen' timestamp='1326031629' post='1491255'] The weird alignment in BFM cabs means you can't use WinISD to predict stuff. [/quote] Below horn loading it behaves pretty much like a reflex box IIRC, I had issues with the similar Jack 10 and made a hornresp model and a winISD model (ignoring the area of the horn) and compared both those to the measurements. 200Hz-ish the horn loading starts to take over I think? The hornresp model was pretty good actually. As far as I understand BFM cabs require drivers with a rising midrange (to help fill the hole in the mids introduced by the horn design), the steeper the better, which makes the eminence offerings (such as the deltalite ii and one of the basslites?) pretty much the only good options.