skelf
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Everything posted by skelf
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Do you have a pic of the tuners. Hipshot make a wide range of tuners into extenders if you get me a pic I will have a lok at them. Alan
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No hurry. Cheers Alan
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[quote name='deksawyer' post='265103' date='Aug 18 2008, 11:58 PM']I received mine on Sat. but won't have a chance to use it until my new bass is built. Great service (thanks Alan) and I'm supposedly the first owner in Scotland, which is nice. It's going in a fretless and I know how much a filter based pre works in that scenario.... Sound clips 6SB!!! D.[/quote] Hi Honestly there is not another ACG EQ02 in Scotland. To be honest at the moment other than a couple of early basses both of which went to friends so they don't count there is not an ACG bass in Scotland. Mr 6 Very pleased it has worked out for you. Alan
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There are a few sound clips about but mainly from the EQ01 pre-amp. However the EQ02 is derived directly from the 01 and uses the same circuit. [url="http://www.acguitars.co.uk/News/84/"]Sound cip[/url] [url="http://www.acguitars.co.uk/News/83/"]Complilation[/url] [url="http://www.acguitars.co.uk/News/72/"]Comp 2[/url] Thread on TB about the 02 pre-amp. [url="http://www.talkbass.com/forum/showthread.php?t=429951"]TB Thread[/url] Basschat review of the 01 pre-amp. [url="http://basschat.co.uk/index.php?showtopic=3919"]BC thread.[/url] It would be great if Mr 6 could see his way clear to getting a few clips together. This will be the third Sei with one of my pre-amps in it. Bigredx has one in his new fretless and Neil Murray has another and now your good self. Alan
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Eude I don't know how it was done either. I spoke to Hiscox and they say their cases are good for 500 kg that is a lot of weight. I use a broker which works out a lot cheaper than going to UPS direct. Up until that point they had been really good delivery on time pickup on time not a single issue. Having spoken to a guy I have been getting deliveries from for my other business he tells me that once it gets into one of the hubs they can treat these parcels very badly. He is liable for any damage between him and the hub but after that it would seem to be down to blind luck.
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Just to chip in on this thread. I have no idea what UPS did to the parcel to do what they managed to go to the bass but it must have very large and very heavy as the damage was due to the case being compressed. The damage. Two stacks were bent and one of the circuit boards was broken. Neck pickup had been pushed in so hard that it stripped the retaining screw. Strap button on the back of the upper horn had been pushed in and cracked the lacquer. Binding had been damaged on the E string side of the neck. Mr Bear was not happy with the finish which was a fair point as the lacquer had developed a slight cloudiness in a couple of areas. I was going to re-finish the bass in order to put this right. I have since removed the finger board due to the damage to the binding having tried to fix the binding first but it did not look to good so I decided just to remove the whole lot. The bass has been partially stripped and I have been watching the neck to see if there has been any movement in it but it seems to be perfectly all right. I have put a new finger board on and as time permits I will get the bass back up and running. All in all it was a very disappointing episode due to the damage and the finish problem. I hate having disappointed customers. The bass was insured but the carrier does not allow insurance to the full value of the bass so I lost a bit on the bass and it took ages to get the money from them needing constant calls and e-mails to finally get them to settle. Alan
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But the best thing about a 9 is it makes you look thin again. Like your thinking.
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Having played a round with the last 9 string I built I have to say I found it a lot easier to play than I thought I would. I have small hands but my bass of choice was a 6 string fretless which I never had any problems getting around. I found the same with the 9 string. There are a few points on the board like high up on the lower strings that are hard to play but I can't see any one using them a great deal unless maybe to tap in which case it is not really an issue. Other than that you get up to speed on it quiet quickly. The only real issue I had was getting lost on the board but again practise would sort that out quiet quickly. Been known to get lost on a 4 string so maybe that is just me being crap.
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Looking really tidy Steve. Alan
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I owned a Progress Elite fretless 6 string which was beautifully made the construction was flawless and is what I aspire to in building. At the same time I had a Wal 4 fretless. The build quality of the Overwater was far better than the Wal but I much preferred the sound of the Wal. I sold both to help fund my own workshop. Of the custom basses I have seen from a build point of view I think Overwater and Sei are hard to beat. Alan
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buummmppp. -
I used it mainly for recording various instruments and vocals. Basically everything I recorded in to my MOTU 896 went through this first. So I used it for mics and direct bass recording I have always like Drawmer gear particularly their compressors. I have used as bass pre-amp as well which it does pretty well. I have sold all my recording gear and have a little Mark head so no longer need it. It is particularly good for digital recording because of the output limiter which stops you running out of headroom and getting horrible digital clipping. Alan -
bump
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BUMP
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BUMP. Surely someone needs a power amp.
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According to the manual it is 28 lb 14 oz. At low volume you will certainly notice them and I found them slightly annoying but I was working at very low volume. The amp was a bit of a mistake totally overboard for my intended use hence very little use and only a few weeks old. Alan
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Bump.
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Try again bump.
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Still a few things to iron out, mostly the preamp - I'd love to put an AC Wal-style preamp in this, but Alan (AC Guitars) isn't selling the preamp to the public. I'm giving this a bit more thought, and since it's about the last thing Jon needs a decision on I should have a while to ponder! Jon has quoted 12 - 20 weeks build time, but I'm taking 20 as minimum! Hoping for a finish similar to this sadowsky: [/quote] I am selling the pre-amp to the public in the form of the ACG EQ02 unit if that helps. Alan
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bump
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Anyone.
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There are some pics over in my finished work section. Alan
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bump.
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[quote name='casapete' post='175173' date='Apr 12 2008, 02:02 PM']Think the 'bridge' outputs may be wrong way round - should be 1450w @ 8 ohms and 1600w@4. Good luck with your sale - I've used these amps and they are great for the money.[/quote] Now that you mention it they could well be I just copied the whole spec from the site I got it from. Alan
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Hi Excellent unit in very good condition. Huge number of use's. I am looking for £150 plus delivery. The MX60 Front End One is a unique mic/line/instrument input channel in a single rack space providing high quality Drawmer processing prior to tape/hard disc recording. The MX60 is also ideally suited to project studio and live sound applications. Functioning as a studio grade mic pre-amp, Program AdaptiveTM gate, de-esser, compressor, limiter, three band EQ and multi band tube saturation stage, the MX60 offers the user more options than competitive units currently available. Grass Roots - The MX60 draws its technology from the most successful of Drawmer products. The mic pre-amp features the same discrete component design found in the legendary Drawmer 1960, the de-esser is derived from the MX50, the VCA based compressor is similar to the MX30, while the peak limiter and gate can be tracked back to the DL241 compressor/limiter. Controls: Input Stage: The input stage may be switched to accept mic, line, or instrument level signals - the XLR mic input has switchable 48V phantom power and phase reverse, while the line input is on both a balanced +4dB TRS jack and an unbalanced -10dB jack. A high impedance Instrument jack is located on the front panel for use with electric guitars, basses, synths and drum machines. Program AdaptiveTM Gate: Drawmer's proprietary Program AdaptiveTM circuitry means that all the time constants are automatically optimised for the material being processed. This enables stable gating and eliminates 'chatter' around threshold. Controls via a single variable threshold and switchable fast/slow auto release. De-Esser: Floating threshold de-ess operation where the de-esser automatically and continually readjusts its own threshold level. The MX60 de-esser is almost completely automatic requiring the user only to select a switchable male or female setting and to adjust the amount of de-essing required. Only the sibilant sounds are subjected to gain reduction so that the lisping effect of simpler de-essers is avoided. EQ: High and low shelving sections as well as fully parametric mid range EQ with variable frequency, 'Q', and ±18dB cut/boost. Compressor: High quality VCA compressor based on that of the MX30 and DL241. Both the attack and release times are Program AdaptiveTM leaving the user with only ratio, threshold and make-up gain to adjust. Tubesound: Multi band 'tube saturation' allows users to create subtle warming, high frequency effects or out-and-out obvious effects via three separate, independently adjustable audio bands. Low settings on all bands enable replication of classic tube mic sounds. Output: The output stage includes a limiter with a preset threshold (+16dB) and a variable master fader with output bargraph metering which sets the overall output level from OFF to +15dB. A two stage soft/hard limiting approach has been adopted with yellow and red LEDs signifying soft (approaching limit point) and hard limiting (hitting limit point).
