robocorpse

+1 for Korg DTR. TU2 is still the best floor mounted device.

Dunno, some of the valve Carlsbro heads were fetching good money, I got 650 for a late 60s one a couple of years ago. A clean TC60 is worth 300+ all day long.

[quote name='Bloodaxe' post='1192802' date='Apr 8 2011, 12:45 PM']Wise move. I had a couple of Bulgin-fitted amps, & my biggest concern was that there was bugger all strain relief and NO cable clamp - so the only thing securing the wiring was the terminal screw blocks. Oh, and the fact that the housing was made of Bakelite which would chip/break/shatter if you looked at it in a funny way. Absolutely appalling design.[/quote] Agreed, but it adds at least 100 quid to the value of any 60s/70s Marshall... If you wanna keep it original, take the wooden back panel off, replace it with a home made one with an IEC plug added to it and wire it into circuit, then desolder the Bulgin. That way the amp conforms to most regs, will pass a PAT test, and its able to be put back to original spec when you sell it further down the line.

Ive got some NOS Bulgins somewhere if you want to keep the amp original...

Replace the 4-way with a 2-way if you can, then run your pedals from a flat switching power supply (like the Johnny Shredfreak ones), that will save a load of height and be a bit more resilient. Danger is that you will overbuild and the case won't shut once all the pedals are installed. Tuner and DI on the shelf is sensible, as you don't need split-second access to them. Just use common sense.

Don't do it, black to natural is possibly the hardest refin due to the amount of prep you need to get all the black off, all the sunken sealer, then finding out the hard way WHY the body blank went into the "spray these ones black" pile in the first place... Wait for a blonde 'ray if you are that picky about colour.

+1 on sealed 2x10. Obviously record a straight DI signal as well so you can fart around with it with plugins etc if you need more depth, or split the frequencies to add subtle effects to the top end, then mix to your hearts content. But I guess you know that already

[quote name='harlowbassplayer' post='1192568' date='Apr 8 2011, 08:34 AM']i think i have found a scammer on BassChat i sent an bass and he said it got damaged (neck and tuner) in the post and i asked him to show me the damages and he got pay pal to refund him the money but i'm still waiting for these photo's this was on 24/03/11 plus he still isn't replying to my email's on Hotmail or bass chat and pay pal[/quote] Presumably, you are now out of pocket for the cost of the bass. That makes him a thief, and you need to take action ASAP. I'd appeal to Paypal and ask them to show you the proof of damages, and explain the buyer has avoided all contact since the claim and refuses to provide evidence to you. Whether you do anything *else* on the side is up to you and is inappropriate subject matter for this forum

[quote name='MatthewKeys' post='1192408' date='Apr 7 2011, 11:17 PM']Hey I just have a few questions about the ampeg svt3 pro in general, because there is a few things happening and i'm just curious whether it's supposed to do what it's doing! 1. Takes a while for the sound the come out after turning it on 2. Sounds like a character in a computer game is dying whenever I turn off my amp? If you don't get what I mean I will try to video it soon. 3. Not very loud, I practice it at Gain half way, Master halfway with a passive bass[/quote] 1) Normal. Amp needs to charge power capacitors and settle. 2) Normal. Power caps drain and power rails drop, this makes all kinds of bizarre sounds on different gear. 3) Normal. In a small rehearsal room with a loud band, a 4x10 doesn't have room to breathe. Step 20 feet away from it (if you can) and listen again, now its deafening. Plug it into a 103db 810E and it will take your face off. I practice with a similar setup (SVT3/410), and I have the master on 10 and the gain on about 6. We have a very loud drummer. [quote]I bought a new tweeter for my 410HLF cabinet and it arrived today, I bought it because my old tweeter was having no/little effect on the high end, all it really did was add an extra bit of hiss and I was told by the people at loud technologies that it's most likely I had blown my tweeter.[/quote] Bollocks, take it back and get your money back. If the tweet is blown, why is it hissing? I'd look at your source bass and your EQ, and the sound you are trying to achieve, like for example if you are trying to get a Mark King sound out of a '51Pbass with flats, it aint gonna happen...

Its all in the feel. My current fave bass for the last 2 years is the £200 Epiphone Thunderbird, and I have had over 100 basses pass through my hands, from £50 Satellites to £4k Alembics.

[quote name='wotnwhy' post='1189147' date='Apr 5 2011, 03:39 PM']Username and avatar tattoo'd on your forehead? But then if you ever changed your avatar....[/quote] My avatar *is* my elbow tattoo

[quote name='tom1946' post='1188984' date='Apr 5 2011, 01:36 PM']I have 2 basses for sale at the moment and sadly I've had an offer on each, one was £65 less than the asking price and the other £55 below. To my mind that is a bit insulting and they were turned down flat. By all means make an offer but make it sensible![/quote] [quote name='cheddatom' post='1188995' date='Apr 5 2011, 01:50 PM']I always find it odd when sellers complain about "low ball offers" and the like. Some people seem to get really pissed off with it. In business I negotiate all the time and no-one gets offended. It's actually put me off making offers when i'm buying stuff on here.[/quote] Tom1946: It wasn't me, but as a long term buyer/seller/hoarder and gear junkie, I think a 300 offer on a 365 bass is perfectly reasonable if you haven't stated its a firm price. Chedda: 200 would be insulting and lowball on the above example, and you'd feel the same if it was your gear. Take my recent SG2000 sale, I wanted 1200 for it, I was offered 1000 and was perfectly happy with that. If someone offered me 700 I'd show them the proverbial door.

[quote name='steviedee' post='1188970' date='Apr 5 2011, 01:26 PM']Hi I dunno if anyone has the issue but its driving me nuts on the bridge pickup of my faker is angled forward if I loosen off the screws it eases out and straightens but then the screws don't sit flush![/quote] Bung in slightly longer/stronger springs, or add washers between the spring and the frame to firm up the existing ones.

[quote name='BurritoBass' post='1186850' date='Apr 3 2011, 05:08 PM']I think your best option is the 51 P-bass with flats. It fits the look & sound and from experience there are some muso snobs around that scene who may not appreciate an Ibanez. The 51 P-bass plays it safe & delivers[/quote] +1000. F**k looks, the new "Rockabilly" wave is more interested in cherry print, knuckledusters and crap bowling shirts with badly printed flamejobs, and has NOTHING to do with real thing, so you will never win unless you have covered your instrument in 10,000 rhinestones and the obligatory dice knobs. They have done nothing but damage and cheapen the scene, same goes for Psychobilly, where theres 100x more double-bass snobbery. 51 RI P-bass will sound the best, and looks trad enough without snobs criticising you for having a "normal" off the peg P-bass.

[quote name='doctor_of_the_bass' post='1045927' date='Dec 3 2010, 04:14 AM']Hallo! Looking and sounding fantastic! One of my students took a pic of me with my MPC in my studio which is still awaiting the rest of its surgery (the bass, not the studio) - the bottom horn still requires thinning down and the top is to be thinned a tad - and the lower edge of the body is still a bit pointy - the real thing is slightly flatter! The bass is at an angle (I see when I'm with you!!) too so looks a bit thin across the top side etc. Nice hat eh? [/quote] Haven't I seen that Elektra somewhere before Glad you started the mods, I had the damn thing for YEARS and never got round to "Squiring it" !

Looks like I annoyed some people here. OK, I (personally) never really got on with the concept of "a song" as opposed to a performance, a good example being "Brown Sugar", which I have never ever heard a really good cover of, or any kind of backslapping cabaret exercise. I don't care HOW good the original is, if its played badly or without any conviction or with half the band SIGHT READING it, then I am likely to go home. I have a major problem with a stage full of 40-50 somethings with brand new boutique equipment wailing away aimlessly, adding 25 extra solos to "Mustang Sally" and playing everything in dead military 4/4 with no feel or swing while they disguise their paunch with something "the wife" picked up for them from Burtons, over their brand new loose fit 501s. It just smacks of desperation, although thats where the money is unfortunately, so originals bands get strangled in favour of another mind-numbing "The Fred Starwrangler Blues Experience plays Clapton" at the Dog and Duck. The only really REALLY good covers band I have ever seen and went back again and again to was Paddy Goes To Holyhead. They actually nailed most of the stuff with good accuracy and proper presentation and stagecraft. They are a rare thing. Tribute acts are another thing entirely, but I have to say both Dressed To Kill (Ceteras band) and "The Musical Box" (Canadian Genesis tribute) were BETTER than the bands they are copying. They put the work in and it paid off in bucketloads. I'd rather see DTK in a pub than Kiss at the Enormo-dome.

I have players and under-the-bedders. The players I dont give a flying f*ck about, they are all battered and chipped and as long as they play and sound good, I don't care what state they are in, empty pickup holes, chunks out of the body etc, and I don't care if I drop them (within reason). The fact that I have some fairly desirable kit in that condition doesn't worry me, I bought them tatty for peanuts, and I'll leave them like that so I never have to worry if I dink them which is almost definitely going to happen at some gig somewhere. I have an 88 Steinberger XM that has been resprayed badly at least 3 times with car paint, all the binding is missing, and it has a custom camouflage finish at the moment, but I love it to bits and I will gig it and throw it around because I know I can't make it much worse than it already is, and it sounds IMMENSE! The super duper pristine ones I am frankly scared to get out of their cases too often, and they only get used at home or for recording.

Pay to play is bollox, but can sometimes be indulged if its a really good slot you are getting for an originals band. Pay to play for [b]cover bands[/b] is DOUBLE bollox, as everyone knows cover bands always attract a half decent crowd and make people dance and sing along when they have had a few, this keeps the beer flowing and the landlord happy. Face it, most venues are booking almost exclusively cover bands nowadays as they know its an instant crowd and even if the band is sh*t (which most cover bands are in some way or another) they can still get away with it.