LawrenceH

Isn't that just a recessed flip handle? Something like these: [url="http://www.bluearan.co.uk/index.php?browsemode=category&category=Hardware&masthead=Handles&subheadnew=Sprung_Handles"]http://www.bluearan....=Sprung_Handles[/url] EDIT: I see it's non-recessed. There are some surface-mount sprung handles on there, looks like a 90 degree stop on the Promethean

Go secondhand, definitely. Peavey or perhaps Ashdown (EB/Mag series) can be had for that kind of money and will do the job, probably better than the Behringer. I've played a (I think) 90w Behringer in a practice room and it definitely isn't as good, reaches its limit very abruptly and rather nastily. Laney also do a little tiltback combo which is ok.

[quote name='Beer of the Bass' timestamp='1321710368' post='1442260'] So thanks, Alex. If my band ever gets to playing bigger venues, I may have to call you up for a Super 15! [attachment=93367:bass cab new 2 003.JPG] [/quote] Great result! Jolly decent of Alex, look forward to hearing this at a gig some time. I really like the clear midrange voicing on the older Markbass 12" cabs, which I'm guessing used a similar driver, so I expect to like this.

Hi, The cab will be designed to work around a particular speaker. That doesn't mean you can't put an alternative in, but not any alternative will automatically do just because it is the right wattage/ohm rating. Bear in mind if the speaker is farting out, it could well be due to mechanical damage through overpowering the bass end (causing the cone to move too far physically) rather than exceeding the thermal watts rating. Also worth checking it's not something trivial like a bent grill pressing against the speaker. If the crossover is designed to work with 4 ohm speakers, then substituting an 8 ohm driver will make it behave differently. For a single 15 to keep up with and complement a 4x10 cabinet in your set-up then you probably do want one that has decent low-end sensitivity, is 4ohms, and can handle close to the full thermal wattage. The Celestion driver you link to is expensive because it uses lightweight neodymium magnet. If you don't mind the weight then a more old-school driver will be cheaper and give you a bit more choice. Eminence do a delta 15LF and kappa 15c that are both available in 4 ohms versions. I have no experience with either, though Eminence as a brand are fine. To work out if they'll suit what you want a good place to start is with the size of your cabinet (in terms of internal volume) and port tuning frequency. Loudspeaker modelling software like WinISD, which uses electromechanical parameters from the driver spec sheet to simulate how the bass end will behave in a given cabinet, can then be used. If that seems like a bit much, people here can probably help with the modelling side of things. There is a lot of info already on here and on barefacedbass.com about principles of ported loudspeaker design for bass guitar which is helpful. Also useful would be the details of the speaker already in the cabinet, Marshall will probably be using an OEM version of a driver from the likes of eminence, celestion, sica/jensen or similar and if we can work out which it is, then it'll give a clue as to the type of driver will suit as an upgrade.

[quote name='JohnFitzgerald' timestamp='1321791035' post='1442997'] Yeah, I think it's the heaviest lift we have. Would be great for a residency. [/quote] If you really love the sound and are handy enough with woodworking, you could check the weight of the drivers in the Peavey and work out how much they're contributing to the weight compared to the cabinet. I suspect the cab is pretty heavy. Lightweight 12mm premium poplar ply can be had for about £40-50 for a 1220x2500 sheet. You could build a cab clone (with additional bracing if you go with the thinner 12mm ply) and swap the drivers and hardware over. The weight difference between poplar and birch (or MDF which I suspect a lot of these heavy cabs are made from) is considerable.

[quote name='Jean-Luc Pickguard' timestamp='1321796029' post='1443059'] Good point snicks. The simple 'like' option seemed to be good for people who would have responded to a post they agreed with by posing a quote followed by +1 without any new content to add. Keeping a total score for someone's account and rating the person, not their individual posts does seem less useful and possible counter-productive. [/quote] I agree with this and would change my vote to 'likes only' if it was disconnected from a running 'reputation' tally and de-anonymised. That last is also important for it to function as intended I think.

I find transitioning smoothly between fingerstyle and slap is hard, too much shifting is required. Which is a shame because the style I enjoy most is probably something like the old Sugarhill recordings. Slap is an inherently more difficult technique to start with than finger playing as even a single hit requires a fast, accurate flick and recoil. But either can be taken to any level. One thing that's probably a mistake in my opinion is to be a better slapper than you are a fingerer! Oh dear. But really, players like that don't generally go down well.

Another one here...I've often puzzled over why, maybe I should string one bass up backwards and give it a go, perhaps I'll be wicked at it!

I voted against the whole thing in the end because I think it encourages cliques and ultimately won't really help the mods either. But I was torn because '+1' is so irritating. Can we get rid of the system but also ban '+1'ing? Where did it even come from?

I love this, it's just so weirdly brilliant. Just checked out an interview with him here http://www.bassfrontiersmag.com/quintin-berry comes across as a really cool guy as well. I can't even work out how he's playing the strings.

DI through a pad straight from the speaker leads is another possibility...('spect he used one of them Behringer units with the built-in cab emulator innit)

Does anyone else feel like they're on talkbass?

When is Grand Wazoo going to be along to recommend a wonky-fretted Dingwall eh? Reverse P pickup position might help too so you get more of the lower harmonics on the top string, but it's annoying to mod as an experiment unless the cavity rout's already big enough.

I am that sad These are very useful for a rock-type sound. Before the Behringer bashers jump in I have always found their comps did a decent job live, especially for drums and compared to other budget makes. In terms of tight punch though, they still don't substitute for a drummer who really knows how to tune his kit! I've met lots of drummers who seem to know how to tune a kit but a select few are able/willing to tune almost any kit until it sounds killer. Then the gates become more useful but the comps are almost redundant.

I sold a mint one for I think £350 a while ago. It's quite a good synth pedal but they are simply not worth that money. They track well, but they don't have anything like the filter quality of a proper synth nor are they programmable. They only have about 2 useful sounds and they're pretty low-fi at that. The cases are good but the actual electronics must be worth pence...I'd have an alesis micron or microkorg for that cash! As for £600-odd...

The midget is a very sensitive cab, you could probably drive it with abut 10 watts and it'll come out loud enough to annoy the neighbours. If it were me I'd think about a small practice cab, maybe made around a decent quality (but low sensitivity) 8" driver, and sealed rather than ported. Drive it with the Genz, which surely you can just turn down? You may need to do some rough loudness compensation with the EQ though.

Tbh I love my funk but I'm not really feeling this one, too repetitive in the rhythmic phrasing and doesn't leave enough space for me - I can imagine a lot of players doing something v similar but better. However, the tone is wicked - very Sugarhill.

[quote name='mcnach' timestamp='1320973469' post='1434061'] but... but... 60 pages????????? [/quote] No. It got closed at 60 pages and moved to part 2...for a further 30 pages! Needless to say, it gets pretty repetitive

[quote name='Andyjr1515' timestamp='1321002963' post='1434149'] Great Link! This is, indeed, how I do mine . However, the wood often burns before the covering bubbles so it needs to be done with great care - especially on the edges and in the cut-out curves [/quote] I've posted what I think is a better way before and linked to several times but...the reason the heat gun burns the wood is it is TOO hot. It doesn't actually need to be that hot to soften the poly enough to scrape off with relative ease. I used a tresemme hairdryer on hottest setting to strip a thick MIM poly finish. Soft, easily scrapable but no bubbling, fumes or burn marks. Takes probably a little more patience but for the lack of mess and total lack of burns on the wood it's worth it. That is my only useful contribution to the world of guitar building.

There's a thread on here with a link to a TC document explaining their cheek, but more amusing (though ultimately less informative unless you actually find that same link buried somewhere) is to look at this http://www.talkbass.com/forum/f15/tc-electronics-rh450-quasi-wattage-ratings-discussion-thread-801140/index60.html

That scratchplate is really elegant. I'd be seriously tempted to reuse that. Those crazy-looking oval Delano pickups that Ou7shined flagged up somewhere recently might match the aesthetic nicely.

IMO, just a theory re the looks Fender P, J and MMSR shapes all utilise curves with constant or smoothly altering radii. The more radical designs like the BC Richs, ACGs, have irregular progressions and more abrupt transitions to their shape. I'm not saying that's bad, but it probably gives them less universal appeal that is less resistant to changing fashions. Humans tend to like smooth curves and certain types of symmetry. It's not the only thing we like, but it tends to be quite ergonomic in a guitar/bass - I prefer not accidentally stabbing myself with my bass so a Fender-esque shape is good. As for the sound, a lot of visually unusual custom instruments nonetheless sound to me like a generic custom instrument...smooth, even output with a broad and well-balanced frequency range...but for those same (useful) reasons, lacking in a bit of character compared to a Fender or MM.

One word: [size=6][color=#800080]D[/color][color=#ff0000]I[/color][color=#0000cd]S[/color][color=#00ff00]C[/color][color=#ffa500]O[/color][color=#ee82ee]![/color][color=#ffff00]![/color][color=#008000]![/color][/size]

Dude...what's wrong with dropping an aftermarket pickup in one of these?! They've got good QC, high mass bridges, but are ultimately built to a budget and it's pretty well accepted that the pickups are one area of compromise, and fortunately one that's easily recitifiable. The world is your oyster when it comes to aftermarket pickups, and the changeover would take all of ten minutes. Statutory warranty...hmm yes perhaps but actually if installed competently even that shouldn't be an issue.

[quote name='KiOgon' timestamp='1320692498' post='1430147'] Here's my other miniature P [/quote] Cool! Can you get a micro-miniature P to replace the thumbrest on the miniature P?