LawrenceH

[quote name='Bill Fitzmaurice' post='1032706' date='Nov 22 2010, 03:00 PM']Not any designers I know. There's nothing the least bit magical about sealed cabs. Most cabs in the 60s were sealed not because they sounded better but because most of the drivers available didn't work any better in vented alignments. Designers/manufacturers who still create sealed cabs don't do so because they're better, they do so because they sell, mainly to customers who think there's something inherently better about the tone of a sealed cab. The fact of the matter is that a good designer can precisely duplicate the transfer function of a sealed cab with a vented alignment.[/quote] My ears like sealed cabinets and I find it easier to separate out the bass on them. But I guess that doesn't mean much. Hugh Robjohns, who is a useful no-b******t reviewer has this to say on the matter (bear in mind it's from a simple beginners article [url="http://www.performing-musician.com/pm/oct08/articles/technotes.htm"]here[/url] ): [quote]In general, sealed-cabinet designs provide a very linear frequency response and — arguably of more importance — an excellent time-domain performance, by which I mean that transients are handled cleanly and without time smearing. However, sealed cabinet designs aren't particularly efficient and so it's not easy to make them go very loud. Consequently, this kind of design tends to be restricted to high-quality domestic hi-fi applications and professional near-field monitoring, where high replay volume isn't the primary requirement and relatively small size is an advantage. The BBC's infamous LS3/5A is a sealed-cabinet design that is highly regarded for critical monitoring purposes. The classic Yamaha NS10 is too, and while its overall frequency response isn't quite as refined as that of the LS3/5A, its time domain precision enables it to provide superb clarity and separation of the bass elements in a mix, which is partly why it has been such a popular studio reference for decades.[/quote] Conservatism is a factor in governing markets but unless you really think those studio and mastering engineers who rate this design type are actually cloth-eared delusionists, then I think using the product limitations of the 1960s as an excuse for dismissing a design out-of-hand is a bit disingenuous. The NS10 is gash as far as response goes, but they do let you hear what's going on low down in a mix incredibly well. I do wonder though, how many people actually regularly listen to bass on decent sealed systems, monitors, hi-fis or cabs? We're probably more used to adapting to ported cabs. I can't use sealed cabs as an effective solution for compact bass cabs due to the loudness issue, but they are very revealing. Perhaps too much for some people.

[quote name='stonecoldbass' post='1032135' date='Nov 22 2010, 01:10 AM']Why would you not want your bass to have bass and low mids exactly...?![/quote] He said you don't want to [i]fill[/i] it with them - an unbalanced, boomy low end does tend to screw things up from a sound engineer's perspective. Bass-heavy sounds have to be tuned pretty carefully (especially indoors with room nodes and the like). To the OP, I think the fact you set the controls to noon was the root of the problem, I look forward to hearing how you get on next time!

[quote name='Bill Fitzmaurice' post='1031064' date='Nov 21 2010, 12:30 AM'][b]Where power/output demands are highest, from 41 to 65 Hz,[/b] the pair of 2x10s are louder.[/quote] This in bold is a rather sweeping statement, and I would definitely question its validity. Look again at that graph, and this time look at 65 to ~150 Hz. Think about a 4-string bass guitar. Bottom E fundamental at 40, 1st harmonic 80. How much 40Hz in that E, compared to 80Hz? We're not talking synthesisers here. Play up the bottom octave and ask the same question. Obviously it depends on the pickup placement, type, the bass etc etc. Nonetheless despite the fact that power demands are so high down there, it doesn't necessarily mean that you need a lot thanks to the harmonic balance of a bass guitar's output. Most ported cabs have a dip around the first harmonics of the lower notes (anywhere around 80-120ish?) I'd bet that when cabs fart out it's these harmonics that are causing the trouble just as often as the low fundamentals. It'll depend on the tonal goals of the player. Bill's graph tells you nothing about the mid-range response (of course if the Deltalites are significantly more sensitive then the twin 2x10s might win out there). A big boost at 40Hz does sound fat, but it's not the 'natural' tone of most bass guitars. My point is not that one cab is better than the other. Instead, I mean that even just in the loudness stakes, which is better depends on what you're asking it to do. And regarding tone, if loudness weren't an issue most designers wouldn't even use porting.

[quote name='TimR' post='1030968' date='Nov 20 2010, 10:57 PM']How loud does an 8x10 'sound' compared to a 4x10 vertical stack?[/quote] It's 1 louder

Don't listen to them! I'm sure the bongo is lovely but as a multitude of killer funk dancefloor classics will testify, you can't go wrong with a nice ash-bodied jazz. Pre-amp change if necessary is pretty trivial. Plus, let's face it, the jazz is gonna date a lot better

I find the Markbass tone the opposite of woolly - there's a pretty aggressive midrange to those speakers (and the frequency plots of the equivalent B&C stock 10" drivers bear this out with a rising response across the mids). Apologies for an obvious point, but one thing worth checking when using the combos is that the VLE/VPF filters are off to start with, they're not like EQ knobs where the centre is off, you have to turn them fully anti-clockwise. Too much of them and woolliness ensues.

[quote name='icastle' post='1021694' date='Nov 12 2010, 05:07 PM']It usually comes in pellet form so make sure you add water to the pellets, not pellets to the water or it'll make the pellets shatter and fly off like little bullets! It also gets very hot so use cold water and a ceramic or glass container to mix it up in (not metal or plastic). Couple of other things spring to mind : 1) As always, do a trial on something that doesn't matter. 2) Keep it off your fingers (I sed a clothes peg to grab hold of the ring and rinsed it off using that) 3) To be totally sure the reaction has stopped, after a rinse dunk it in vinegar and rinse it again (Caustic Soda is alkaline and the acid in the vinegar neutralises it). Oh - and don't be tempted to sniff it - it'll burn like crazy![/quote] Be very cautious using caustic soda, it is very nasty stuff, and I'd really recommend using a dilute solution to start with - you can always up the concentration subsequently if it does nothing, but concentrated it'll burn through things FAST. Including your clothes, skin and eyes. It can really spit, so I'd also say use goggles!

[quote name='Bill Fitzmaurice' post='1030477' date='Nov 20 2010, 02:54 PM']That comes down to about 1 cu ft net, and no driver is going to give [i]"plenty of bass in it to get an deep tone, which can go nice and deep"[/i] from a box that small. IMO it's not worth replacing the driver, put the money in a better/larger cab, used if $ is an issue.[/quote] This is true, but the OP is talking about the tone they already get being nice and deep if they put enough power in, so presumably they're satisfied but the problem is break-up. It really depends what the original driver is, whether it's worth replacing or not. Is it possible to find out?

[quote name='warwickhunt' post='1029556' date='Nov 19 2010, 04:27 PM']Is it the correct headstock (ie neck) but with a refinished body? Just looks to me (not that I've seen that many MM Jazz basses) that the headstock decals and MM sig look about right![/quote] No because the neck on a MM jazz is bound! Also I'd put money on those inlays being stickers. They just don't look quite right.

Poor George. This has been quite funny but I can't help feeling sorry for the guy. Bit of a spanner but perhaps he just doesn't really understand how these fora work. It's not like there's an internet driving test (nor should there be). Hope he doesn't feel too bullied and manages to sell his bass somewhere!

[quote name='silddx' post='1028905' date='Nov 19 2010, 09:30 AM']Should have just bought a bound neck really shouldn't I [/quote] Aye! What's the bass?

The only way I can think to achieve this would be if you could scuff the finish on the side a little bit, mask up very carefully and use a hard white lacquer, then clearcoat over it and polish to blend it in. Not sure how well it'd wear on the edge of the fretboard though. Probably work better on an all-maple neck since you'd clearcoat over the fretboard as well, might have problems on rosewood.

And it's back! But for how long? Now it's a 'Fender Jazz 'Marcus Miller' Custom built'. [url="http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=120649310703"]http://cgi.ebay.co.uk/ws/eBayISAPI.dll?Vie...em=120649310703[/url] That's surely just a flagrant a breach as before? It's no Fender custom shop job and it doesn't say 'copy' anywhere. Blatantly misleading.

[quote name='silddx' post='1028342' date='Nov 18 2010, 07:53 PM']Interesting, I find the BBs pretty warm, but I get it depends on your pups and tronics. I love the BBs and won't be swapping for Neons until they do the same coating as the Neons in black.[/quote] The BBs are certainly a bit more middy than the uncoated Hi-Beams (swapped between both on the same bass for direct comparison) but for me the growlier the mids the better - so I was hoping that a coated string based on the Sunbeams (reputedly warmer) would suit me down to a 'T'! I agree though, I don't fancy the neons on my newly-refinished MIM 70s J as it would totally wreck the old-school vibe I've spent bloody ages trying to perfect - oh vanity! Was wondering about the silver stars, hoping they look roughly like normal strings.

[quote name='Bassassin' post='1028407' date='Nov 18 2010, 08:48 PM']Got a look at it before the listing was pulled - definitely very shonky. Not certain, but didn't it say "Marcus Miller [b]style[/b]"? Wonder if it was one of these with a dodgy sticker: [url="http://www.bachmusik.com/en/music-instruments/bass-guitars/model-bach-bjb-s"]http://www.bachmusik.com/en/music-instrume...odel-bach-bjb-s[/url] Jon.[/quote] It did say 'style' but had a signature on the headstock and no indication that it was a homebrew so was clearly someone on the make. Wasn't one of those Bach basses as the inlays look genuinely inlaid on those, and they're bound necks (also do they even do a red one?), but that's a pretty cool find!

[quote name='malcolm.mcintyre' post='1027646' date='Nov 18 2010, 09:40 AM']What's wrong with MarkBass?[/quote] Nothing, they use decent drivers and were among the first manufacturers to use good quality lightweight poplar ply. But not everyone likes their signature sound which is quite modern and up-front - I do, I think they're great! The price is a bit of a sticking point though...

I have to say all my stock single coil basses have buzzed like angry bees if next to anything electrical, and this is often alleviated by my touching the strings - meaning I'm earthed through the guitar. I'm sure this could be improved by careful shielding and earthing but it seems pretty normal based on my experience. Could well have an earth issue, but otherwise maybe he's just got a very well-shielded strat?

[quote name='Macko1968' post='1027573' date='Nov 18 2010, 08:07 AM']Red, no Badass & a 4 bolt neck, wtf? [url="http://cgi.ebay.co.uk/FENDER-JAZZ-Marcus-MillerActive-Bass-/120648935912?pt=UK_Musical_Instruments_Guitars_CV&hash=item1c173ca9e8#ht_500wt_1156"]http://cgi.ebay.co.uk/FENDER-JAZZ-Marcus-M...8#ht_500wt_1156[/url][/quote] That looks like a fake - there's no binding on the neck and the 'inlays' look suspiciously like stickers to me. Don't know how the signature ended up on that but it's not a MM neck!

[quote name='silddx' post='1028024' date='Nov 18 2010, 03:19 PM']Hello mate, [url="http://basschat.co.uk/index.php?showtopic=109677&hl=DR+NEONS"]http://basschat.co.uk/index.php?showtopic=...amp;hl=DR+NEONS[/url] They are great strings, as all DRs are. They are rich in the mids and bright sounding and BRIGHT LOOKING! Even in ordinary daylight they are incredibly lively The coating is said to last 9 times longer than previous DR coatings, eg Black Beauties which are what I usually use.[/quote] Very interesting - do you know if they are available in non-neon?! I have Black Beauties and have been very impressed with them, but was thinking I'd probably prefer a bit more mid-warmth from something like the Sunbeams, but I'd like them to be coated as it seems to make a real difference.

[quote name='Vibrating G String' post='1027383' date='Nov 17 2010, 10:15 PM']I feel when considering something an investment you can't compare it to what you paid for it but but the performance of another investment you could have made instead.[/quote] Definitely. If you really want a bass but think you might sell in future and fancy recouping your cash, then get an old Fender. Otherwise, your gamble will have better odds of a great return investing elsewhere. Having said that, if I could find a 1981 gold on gold jazz at a decent price and could afford it, they've got to be future classics! That one that's always on ebay is lovely but just too expensive. In ten years though, they'll be 'worth' the asking price.

[quote name='Beedster' post='1025571' date='Nov 16 2010, 10:00 AM']+1 It's not quite all original, so I'd say you're looking at £800 max. Fullerton RIs are great basses though. C[/quote] What're the non-original bits?

[quote name='Doctor J' post='1026745' date='Nov 17 2010, 11:35 AM']13 posts on funk P-Bass and no-one has mentioned Paul Jackson? [/quote] Completely agree. P-bass funk legend. But that live George Duke track is funky as - it's pretty much compulsively making me do the dirty funk head bounce on my headphones. Just hope no-one sees!

Personally I prefer jazz basses - but I still think you'd be mad to swap that P!

I'm sure these are all good suggestions. Add secondhand Yamahas to the list. Especially the BB series, or RBX374s - they go for under £150 and are great basses for the cash.

[quote name='funky_numba' post='1025352' date='Nov 15 2010, 11:41 PM']Hi all I'm a newbie to bass.. a few weeks so far. I recently bought a second hand 4-string bass (Wesley), put on new strings (Rotosound Swing 40-100). I'm having a problem with fret buzz... mainly with the E-string. When I slap the E-string it hits on most of the frets. Out of curiousity, I raised / lowered the saddles (yes, all of them.. oops), adjusted them back and forth, but this made no difference. I think that there is now too much action on the E-string and it's still buzzing. I had another thought.... the only way to solve this is to tighten the E-string, however that would make the string out of tune with the other strings. Can you guys please offer any help. I'm just guessing things at the moments. Many thanks!!![/quote] You may need to adjust the truss rod (but do this CAREFULLY following instructions from a decent online source, sure there's some around here) or it might be as much to do with your playing technique! I think when you slap, the E string's meant to hit the frets! Getting a clean slap sound requires a fair bit of practice. Honestly the best thing you could do would be to take it to a guitar shop and ask. There's gotta be somewhere in Glasgow that'll do a decent job cheap, and maybe even talk you through it as well. Factors that affect fret buzz: Low action height at bridge, or sometimes at the nut (rare that this will be too low). String type - some are lower or higher tension for a given pitch. Rotosound Swing are stiff enough that you shouldn't worry about changing string type because of that. Neck relief (truss rod should be adjusted to make neck straight under tension of strings, or with a bit of forward relief - no back-bow) Fret profile - sometimes you get basses where fret height is a bit uneven and this causes problems in particular positions along the neck. Technique - how hard you attack the string, the angle, and the position on the string will make a big difference. My bass is set up so that when I play gently it gives a reasonably clean sound but when I dig in I get buzz to give it more character, but in a controlled way.