obbm

This is my new small rig.

New rig used for the first time at rehearsal on Wednesday. 2 x BF One10 MB LM2 Sansamp BDDI Remarkably loud.

and there is one on Ebay right this minute. https://www.ebay.co.uk/itm/Lakland-Skyline-Duck-Dunn-Signature-bass-guitar-with-EMG-Geezer-Butler-pickups/302543703196

I also don't get on with wide necks. I have two '73 Precisions that have "B" necks, a Sadowsky Metro HPJ which has the equivalent of an "A" width neck but not as deep. I recently acquired through here a Fender Nate Mendel which is slightly narrower than the "B" and which is excellent. You could also consider the Fender Precision De-Luxe Special which has a Jazz width neck.

The only time I ever saw Deep Purple was in 1969 at The Royal Festival Hall on the occasion that they performed "Concerto for Group and Orchestra" with the Royal Philharmonic Orchestra conducted by Malcolm Arnold. A somewhat surreal experience at the time. I still have a vinyl of it somewhere among my old records but alas no turntable.

Another swift trip around the M25 and a meeting in a Costa Coffee so I could buy Jon's Nate Mendel Precision. Jon's a gentleman and it was a pleasure doing business with him As said before, deal with confidence. Thanks Jon, Elvis will be surprised on Wednesday.

The problem with a lot of XLR cable is that whoever makes them tends to cut all three conductors to the same length so any undue strain can snap either of the main signal wires. The secret is to make the signal wires about 2.5cm longer than the screen and fold them back into the shell. This way any strain is taken only by the screen which if properly soldered into pin 1 is much much stronger. I always sleeve the signal terminals with silicon rubber sleeves or heatshrink.

I started in 2004 after a post on Bassworld from someone asking how to connect two bits of kit together. It's never really been more than a hobby and certainly not a full-time business. I've just taken delivery of 400m of instrument cable and 100 Speakons so I won't stop yet. As long as folk still want cables I'll carry on doing it.

Tell me about it. You never know I might retire soon.

Alternatively they could not be removing something that cheap cables do, but I have yet to be convinced.

There can be quite a lot of unwelcome electrical interference in a stage environment especially if you have lighting dimmers around so it is wise to take whatever precautions you can to minimise this. One way is for all long cables to be balanced as this will help cancel out any interference and hum. Ideally you should keep unbalanced cables short and use balanced cables where running across the stage to, for example, an FOH mixer. This is why most amps and all DI boxes have a XLR output so you can use a balanced connection to the mixer.

This German concert was recorded during their Germany, Japan and Phillipines tour. They then went on to the USA for their final tour there and the famous Shea Stadium show in NYC. I think it's fair to say that they were internationally famous by June 1966. I first saw them in Guildford in June 1963 and then at their annual Xmas shows in London - 1963, 1964 and 1965. The memories of those shows has long faded apart from the incessant screaming.

Cliff Bennett and The Rebel Rousers were a great band but never really hit the big time. There is a compilation of their work "At Abbey Road - 1963-1969". The Rattles were a German group formed in the early 60s in Hamburg. Somewhere I have their single "Bye Bye Johnny" which was sung in Germinglish. Very entertaining. Another band you might like to check out from the mid-60s Merseybeat era are "The Rockin' Vickers" who featured amongst number a young Lemmy Kilminster on guitar who went on to much greater things.

What colour are the Speakon sockets on the amp and the cab? Do they have Neutrik embossed on them?

Lakland Jerry Scheff 4-string.

[quote name='Phil Adams' timestamp='1510041567' post='3403359'] Did anyone have a Linear 30? [/quote] Yes I had one of those. It served me well for several years. I currently have a Linear 50 as a rebuild project.

Have you considered a Buttkicker attached to his throne driven from a power amp or a small bass head? [url="https://www.thomann.de/gb/fischer_amps_buttkicker_mini_lfe_2_ohm.htm?glp=1&gclid=EAIaIQobChMIp8O4n_uq1wIV6rDtCh3-AAkjEAQYASABEgIn8_D_BwE"]https://www.thomann.de/gb/fischer_amps_buttkicker_mini_lfe_2_ohm.htm?glp=1&gclid=EAIaIQobChMIp8O4n_uq1wIV6rDtCh3-AAkjEAQYASABEgIn8_D_BwE[/url] All tactile and no increase in volume. I use one occasionally and mix my bass and drums through it.

Whilst experimenting with a stack-knob set-up a few years ago I successfully manage to dismantle and rebuild several stacked CTS pot with different resistive tracks. It would therefore be possible to make a 10K/100K version. I still have all the bits of the stacked pots in a box somewhere. I'd happily do this. All I would need are the right size CTS pots. Are the tracks linear or log?

[quote name='chris_b' timestamp='1509642332' post='3400560'] Well over here from the mid 60's on, we had Marshall, Sound City, Hiwatt and Orange amps and cabs. I'd say the sound of those amps and the bands that used them created and defined the sound of Rock. [/quote] ..... and Watkins, Vox T60, Vox Foundation Bass, Vox AC30B, Selmer Goliath, etc.

[quote name='SICbass' timestamp='1509537501' post='3399680'] That is absolutely briliant. For a moment there, I thought it was going to be one of skankdelvar's (a most excellent BCer) imaginative pieces of work á la Monty Python's "Luxury - t't kids uv tuday" etc. and then it turns out the whole thing is real. Or it least I hope it is and I'm not just a gullible prat, because it makes super reading. [/quote] Thanks. Absolutely true. The local music shop was Potters in Aldershot. It closed years ago but the edifice is still there.

The year was 1963. Jet Harris had left the Shadows and I'd just seen Little Richard and a few other artists at a show in Slough. I decided that I wanted to play a bass so I set about building myself one because real basses were just far too expensive, about 8 times the average weekly wage and I was still a poor schoolboy. My first bass was made out of one piece of plywood with no form of truss rod - I had no idea about such things as a 16 year old. The frets were inverted pieces of model railway track and the spacing was calculated using logarithmic tables. I needed a pick-up and remembered that during WW2 when my father was in the anti-aircraft artillery, one of his spoils was a German flying helmet. I'd used this as a headphone however needs must so I removed the ear-pieces and used them as the pick-ups. I saved up to to buy some tuners, a bridge and strings from a local music shop put it all together and amazingly it worked although the neck was like a banana and the action appalling. The second bass was made from a 1-inch thick piece of Pirana Pine and used most of the components from the original. I bought a cheap pick-up for this one. I had no amplifier so I got inside the family radiogram and soldered a screened cable to the volume pot. It worked but wasn't loud enough so I had to use my tape recorder to boost the signal. All very Heath Robinson but it worked and it meant that I could play along with records. Having played the trombone at school I had some understanding of music fundamentals however there were no tutors or internet back in 1963 so I bought just about the only tutorial book available and set out to learn some scales. Eventually I persuaded my mother to lend me £45 to buy a Framus Star bass, saved up and bought a Linear 30 amplifier and got a cabinet maker to build me a copy of a Marshall 4x12 which was fitted with Bakers Group 25 speakers from shop in Croydon. This rig served me well for several years.