JPJ
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Everything posted by JPJ
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Yes it has phantom on the XLR (mic) input and yes you can combine both channels (there’s an A + B switch on the side between the two jack inputs). I must admit I’ve never used that option as I’ve always used mine on doubling gigs with EUB and electric fretless, or more recently with upright but I only have a Realist Copperhead on my upright and no mic. They really are a great bit of kit. My only complaints are the post clip light is a bit sensitive, and the selector for tuner always on is inside the case requiring a screwdriver session to change to on mute only. Other than that, they are built like a tank and do exactly what they say on the tin.
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I used to detest Ashdown amps until someone on here explained how the preshape function works (on when its off). Once I got to grips with that, my love affair began. I currently own two Ashdown’s, an ABM400 1x15 Neo combo that I have in a live-in flight case, and the absolutely fantastic Geezer Butler Head of Doom (that I pair with a Vanderkley 2x12). To be honest, the 1x15 combo covers most gigs as in my main band I also provide the PA (2x15” powered tops with 2x18” bass bins) with everything mic’d or D.I.’d so the backline is only really centre-fill for the front few feet of ‘audience’. The HoD comes out for bigger gigs or rare Sabbath tribute shows. Now my last SWR head has left the fold, I ‘might’ add a newer ABM EVO IV head, or even the newly announced PBM 200 as a gig-bag back up. -
Contra-opinion. So, I have gigged a TC BG250 208 successfully with an un-miked drum kit, albeit one played by a proper drummer that knows the difference between light and shade. I upgraded mine with the Fane Sovereign drivers mentioned by @Linus27 to give a 4 ohm internal load. To be honest, any volume increase is negligible. 8” cones are perfectly useable, but there is no doubt the form factor of this combo is dictated by the size of the head, not the best cab to get the most out of the cones. It will handle a low B string but you will notice the drop off in SPL. There is something very decadent about walking into a gig, amp in one hand, pedal board + accessory bag in the other, with your bass on your back. Single trip from/to the car is definitely the future 😎
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That’s the reason there is a MicroThumpinator at the end of my pedalboard signal chain. Blowing three out of four cones in 4x10 taught me this lesson the expensive way 😂
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Current setup(s) are: 1) Ampless, using a pedalboard with a Jad Freer Capo, Empress compressor, SushiboxFX finally DI (v2), and SFX Micro Thumpinator (although this is only used with amps) 2) Ashdown 400w 1x15 ABM Neo combo (most gigs where I am also running the PA) 3) Ashdown Geezer Butler head of doom into a Vanderkley MNT 2x12 cab. I also have the fabulous little TC Electronics BG250 2x8 combo that I use for upright & EUB. All in all I’m not spoilt for choice, and all of the above are a lot easier to lift that the SM1500 😂
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There are only three people up here in the North East of England who I would trust with refretting any bass, let alone a genuine 1963 Jazz bass; 1) Paul Richardson at PR Guitars (Facebook only, looks like his website is down) 2) Gary at Sylva Guitars 3) Dave Wilson (again, Facebook only) But, all three are incredibly busy so expect a wait.
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The Baby Blue 2 x 8 combo is on my radar but is fairly rare here in the UK. There is one for sale in Italy at the moment, but by the time you add post-BREXIT import duty and VAT it becomes uneconomical for me.
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If you had, you would have remembered. There is a clarity and authority that you get with SWR that you just can’t get with other amps IMHO. Yes, you can get ridiculously clean tones from other amps but they sound sterile to my ears. SWR has that clean but with warmth and authority (if that makes sense?)
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So yesterday I sold the last of my SWR gear. This ends what has been a thirty plus year obsession with the brand, started by my love of the bass playing of John Paul Jones. Over the years I have owned and gigged: 1) Black Beauty combo 2) Black Beauty combo with Workingmans 210 3) 750x head with Goliath III (4x10) and Son of Bertha (1x15) 4) 750x head with two Goliaths 5) Grand Prix preamp (twice) 6) SM1500 head with two Goliaths 7) SM1500 head with one Goliath Senior (6x10) 8).SM1500 with one Goliath 9) SM900 with one Goliath 10) Marcus Miller preamp (twice) 11) Marcus Miller preamp with Amplite poweramp (the setup I should have kept). I know that Fender swallowed up the SWR brand and then promptly did nothing with it, but boy would I love an SWR pedal sized preamp with the semi-parametric EQ and the famous aural enhancer (marmite to many),
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Here we have my DBX DriveRack PX professional loudspeaker management processor with matching DBX reference microphone for sale. I am the second owner, and this has lived in a flightcase all its life alongside my mixing console. Condition is used, although the reference mic was new this year (2025) has never been used in anger. A great tool for those of us who mix live sound from stage side whilst playing. I’m only selling as I have now upgraded my bass bins to a matching pair to my tops so will be using the internal crossovers to cut down on the weight of gear I shlep to gigs. Because I am inherently lazy, I asked ChatGPT to describe the functionality and this is what it came up with, which sounds accurate to me based on my experience. “The DBX DriveRack PX is a professional loudspeaker management system that optimises live sound systems. It combines automatic room tuning, crossover control, EQ, dynamics, and feedback suppression in one rack-mount unit. Using the included DBXRTA-M measurement microphone, you can run auto-EQ and real-time analysis to tailor your speakers and subs for smooth, balanced frequency response in any venue. Other key features include configurable crossovers, delay alignment, compression/limiting, and feedback elimination, making it ideal for PA systems, bands, DJs, and event sound setups.” I’m looking for £300 for the DriveRack and reference mic, or £250 for the DriveRack and £50 for the microphone. Collection from Killingworth Newcastle upon Tyne, or delivery at the buyers cost and risk. Any questions, please ask! -
But will it displace the Noble?
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Sorry I probably wasn’t clear enough. I meant dismantle the XLR plug that is stuck in your PA amp module. Undo the screw on cable gland on the plug, withdraw the innards from the XLR plug and then reach inside the housing of the plug that will still be stuck in your PA amp module to release the latch with a small flat head screw driver.
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I highly recommend a few sessions with a personal trainer. I was in a bad way with two bad (one really bad) goalkeepers knees. Pain all the time, walking upstairs was agony on a good day, and pain enough to disturb sleep or prevent it all together. Doctors advice was to hold off as long as possible then knee replacement surgery. I started with my PT shortly after COVID restrictions were lifted, and I can now squat my own body weight amongst other things but the most important thing is I’m pain free and no surgery.
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When I’ve had this happen in the past, I have dismantled the XLR then pushed the release latch from inside the XLR body with a small screw driver.
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Strictly not last night, but Thursday night (yes, a school night). Our acoustic trio were invited back to the Speakeasy at the Harbour View in Sunderland, Tyne & Wear. This was our third appearance, and probably our best, even if I say so myself. The Speakeasy is a mixture of an open mic night and a gig. For the first hour, it’s an open mic, although due to its popularity, performers have to book their slots weeks in advance. The second half is a 45 minute set from a featured artist or band. This week, that was us. Bear in mind that the Harbour View pub is perhaps unsurprisingly sited overlooking Sunderland port. As a result its on an exposed hill top, and on Thursday evening a brisk south easterly was whipping the rain into a face stinging frenzy and making the 6c feel a whole lot colder, and yet the pub was still full of enthusiastic music lovers. Gear-wise, I was using my Boosey & Hawkes Excelsior laminate double bass equipped with a Realist copperhead pickup straight into the EBS Stanley Clarke acoustic preamp. From there, straight into the desk (a Behringer X-Air 12), and out to a pair of RCF HD 10’s and a small DB monitor that was almost at my feet, which sounded great on the videos I have seen 😎
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I must admit to liking Ian Martin Allison’s online content, and it was on his recommendation that I bought the Jad Freer Capo. So naturally, when Ian started posting about this I was interested. However, having watched a couple of videos, I don’t see me adding this to my roster of preamps. It’s not the price, I’m the wrong side of 60 years young so disposable income alleviates that restriction, but I just think it’s too subtle. As others have said, the eq is clever, but as a user of HPF’s, I like a separate controls for this and for the bottom end. I do, however, like the styling - it looks very Cold War military hardware and therefore cool in my books.
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Great choice, I love an unmarked fretboard
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Tone Hammer 210 combo.... Looks nice. 🎶🎶🎶🎶🎶🎶🎶🎶🎶🎶🎶🎶🎶🎶🎶🎶
JPJ replied to spyder's topic in Amps and Cabs
As others have said, it reminds me of the old SWR Workingman’s stuff, a look I was never a fan of, and this new Aguilar does nothing to change my opinion. -
If you are looking for a top end preamp in a pedal format then look no further than the Jad Freer Capo.
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Beautiful, mad, bonkers, crazy etc. The bass looks tremendous, personally, a simpler pickup and preamp arrangement would suit me. Fascinated to know how the customer intends to use this unique bass.
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Look up Milehouse Studios on YouTube, but if you are easily offended probably best you don’t 😂
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FaitalPRO 12PR320 12" X 2
JPJ replied to JPJ's topic in Accessories & Other Musically Related Items For Sale
@GBH I can confirm they are indeed 8 ohm each -
That’s so clean I’d have probably mistaken it for a join, assuming they had grafted that bit on to save money on neck timber 🤦
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Question for the Basschat hive mind. No reason other than I’m puzzled. But I’ve seen a few videos of pro players with neck off basses. My question is, if you take the string tension off the top, what stops the sound post from falling during transport?
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I’ll throw the Vanderkley MNT 212 into the mix. Light enough to be a one hand carry, narrow enough to pass through doors without scuffing your knuckles, and chucks out an amazing sound.
