Ghost_Bass

I can say i've been without GAS for a few months. Last purchase of gear (except strings) was a extension cab for my Promethean early this year (and was just to grab an oportunity at a good price) I'm still using my TRB as main bass since i've bought it in 2010. I've had some basses in the meantime but none stuck with me. I have a bit of money accumulated in my "gear piggy bank" and have been scrolling through the classifieds, thomann, etc. for a few moths, i can't see anything i would like to replace my current gear... Maybe the NAAM could bring out some new Ampeg gear with Yamaha quality that could convince me to spend some money.

Thanks Dan, that's the kind of comments that i need to read.

The SC doesn't go high enough (on the highs) and it's 8Ohms. Would be closer with the BB2 but still, only 8ohms. The Phill Jones, like the S12T, has a trolley handle and casters. Back problems means i must avoid carrying stuff as much as possible.

Hi, been looking at this as a replacement/backup for my Barefaced Super12T. A bit lighter and less power but should cope well with the Genz Benz Shuttle 9.2. I'm looking for opinions regarding the sound characteristics/quality, SPL, and most importantly about Frequency Response. The S12T is fairly flat, i'm looking for something close to it in smaller/lighter/portable package. Don't mind about low-end rumble, HPF in shuttle makes sure all the mudd is removed. link: https://www.thomann.de/gb/phil_jones_neo_power_compact_8_lite_bk.htm?ref=intl&shp=eyJjb3VudHJ5IjoiZ2IiLCJjdXJyZW5jeSI6IjIiLCJsYW5ndWFnZSI6ImVuIn0%3D thanks

Doesn´t look like silicone to me, looks like hot glue (the craft type). That should be the way i would fix it, just two bits of hot glue on each top of the magnet to secure it to he existing glue. Simple and easy to remove in the future, if needed. Another option is to use contact glue to secure the magnets directly to the pickup housing in the bottom. Again, a secure way to fix it and not so difficult to remove if needed.

Excelent! Thank you!

Hi, anybody tried the B3 with phones plugged directly to the output/phones jack? Does it have enough signal or the phones need to be amped? Thanks

A Yamaha logo on the headstock!?? 😂😂🤣

For me it's the best bass they have buildt. It's miles ahead from the current TRB100xJ and TRBX. Eben the BB's aren't at par with this, it was top of the line before being descontinued. Why Yamaha did it without bringing in the TRBIII i'll never understand. Got it here for a steal price of £900 about 10 years ago. He's the reason i joined BC in the first place and never left. It's been my #1 bass since, it's the ONE, it has "my tone" completely flat and straight to a flat mixer if needed, the balance knob and right hand position give me all the tones i can possibly dream of. It will NEVER EVER EVER leave my hands, will be passed on to my offspring with joy when i retire from playing. Mine has the Ovangkol top, i've tried the Maple and Bubinga ones (the bubinga belonged to Nick Fyffe and belongs to a friend now), i found the Maple too trebly and the Bubing too dark, may have been the strings but i found this one is more balanced to my playing style. More pics, next to the ex-fyffe's:

Well, next time you can point me to the next great deal for a used BBNE2. Al needs to rest for a while... Now for some gratuitous pics: The NE would fit nicely in the collection

wow! a grand for the 1100S? How much would be worth my Japanese BB1000S then?

A bass feeling light whilst having a great tone , IMO, is an indicator of a higher quality instrument and one i'm always looking for. Boutique builders base a lot of their business in building great sounding instruments that are easy to play and are light to help players with fatigue and back problems (Smith, Jerzy, Sadowsky, etc.). I would happily pay again the same amount i've spent on my TRB just to be able to shave 1kg of it and retain its sound, but i know that's impossible. Yamaha is a great brand, they're hard to beat in quality vs price, their attention to detail is huge and they carry it through the bottom of the line. My opinion is, if you feel that bass suits your hands and tone needs then you can stop looking, but make another trip (or two or three) to the shop to try it again. If after that novelty period you keep finding yourself drawn to it, its a keeper. Don't worry about the price tag

Fair enough but i said i wouldn't call it a port because the size of it makes it look closer to an open back cab, IMO

Sorry but no, that won't cut it, that's good for bedroom practice. Even in rehearsall i would be affraid to blow the driver as this is clearly a Guitar combo that stated it can also handle bass (it won't, at least with the sound/tone a bass is suposed to have). It can have all sorts of HPF to prevent over-excursion but that will come at expense of low frequencies. Just looking at the "porting" (i wouldn't even call it that) we can see its made for guitar not bass:

^^^ This, and also tell us wich gear the guitarist uses and how hard the drummer hits. A good indicator is to crank it in the rehearsall space and see if you can compete with the drummer when he's hitting a bit harder.

This may sound strange but... Fill the resonance box with bubble-wrap or those Styrofoam bits (don't know the English name for it). I bought a bass recently that had a short journey through airplane to my hands. The bass was bubblewrapped, then inside it's carry-bag, then carry-bag bubble-wrapped too and finally a cardboard box wrapped in meters of tape. Even so the carrier managed to have the preamp of my bass break from the 4 screws that fixed it in the outside plastic face-plate. Cardboard box was intact with no signs of damage or perforation, only thing that could have caused it is a huge deceleration, something like being on a car accident or been dropped from the top of the plane to the ground... Bass was insured and the carrier denied compensation 🤬

Make sure that the bridge ground wire isn't sunk in the wood and making little contact with the bridge (as it looks in the video) change its location to the side so that it makes better connection (and create a new sink in the wood). Shielding the electronics and pickup cavities and connecting that shield to the ground also helps. Last advice is to, if all fails, replace the bridge pickup for a dual-coil/humbucker/noise cancel one.

I may have misread your first reply, now that i look at it again, sorry

But this all can be resumed, this is the way i used to do it: - Start with everything Flat/Switches OFF, Master and Gain at 0 - Set gain, slapping the bass until the clip led lights up, then go back a notch; - Pre-Shape / Valve sim / compressor OFF, you don't need that!; - Set Masted to sensible volume; - Turn on EQ switch, set the first and last sliders to cut almost all the way (that low-end rumble and high end hiss aren't pretty to be heard); - Re-check gain; - EQ to taste keeping the EQ curve balanced around the 0dB line; - Re-check gain; - Set Master to gig level;

+1 Sure thing, but first you need to learn how to work with the gear, that's where this comes in handy

This questions pops up on the forum way too frequently. I think it deserved a pinned topic. Getting a nice sound of a TE requires a bit of understanding of how the preamp works and the TE manual explains it very well on pretty much all models. I'll post here a quote from the GP12 manual that has more bells and whistles but the same applies to other models. Downloading the correct manual is very handy and you can find it online easily through your phone in any situation (if you have a internet plan or wireless connection): Source: https://www.britishaudioservice.com/trace-elliot-manuals Sorry for the big text but TE did a fantastic job at creating a very clear and explanatory manual with lots of useful EQ tips and i hope it helps someone understand how to setup a TE properly, it may seem hard to understand but in fact it's quite easy to get the grip after the first read.

^^^ This would be be smallest, lightest, option and my best bet, but responding to the OP, yes your way will also work.

EDITED

Been catching up on older posts and this one drew my attention, brought a nice memory to my mind. I played with a guitarist (jazz school) who always loved and played with a Les Paul. We were on a Funk/Soul project so that dark, bass-heavy tone he liked getting out of his guitar wasn't blending very well with the rest of the band (it was briliant for jazz though). After me and the drummer constantly complaining to him about this issue he decided to take our advice and bought a telecaster thinline, we were extatic when he took it out of the box in front of us. We allowed him a bit of rehearsal time to setup properly and in the end he sounded pretty much like he was still playing that dreaded Les Paul... we had a laugh on his expense and proceeded to turn off the Low knob in his amp (after first gig he realized we were right about the tone and said he liked it better than the previous one).