JPJ

That’s a wonderfully simple take on the classic B Bender which seems to necessitate hollowing out the whole guitar. Nice score, now get those Clarence White licks practiced 😎

Funnily enough, I was in comms with Martin on this very topic earlier this week as I am interested in purchasing one of these and also local to Martin (he’s done quite a few repairs for me over the years, and I was an early tester of YI200). He tells me that “I’ve got the design sorted just working on production of the chassis. Had a breakthrough this month and will be able to progress with several new projects now. Will give you a shout asap”. So it sounds like things are moving forward.

12 hours ago, admiralchew said:

Showing the YouTube algorithm works: a video of multiple basses, almost half of which are signature basses:

 

 

 

how good does the Fender Marcus Miller bass sound? Its the standout for me from that list, the boy Miller certainly knows something about tone 😎

6 hours ago, kwmlondon said:

I've never had a signature model before, is it obvious? Is there a signature somewhere?

 

I mean, if I liked the bass it'd have to have the name of someone I really despised on it for me to turn it down, and then I'd probably still buy the bass but find a way of getting the signature off!

The Tony Franklin has his signature engraved into the neck plate, but it wouldn’t be a massive job to change for a standard F neck plate if it bothered you. 

On 11/03/2024 at 13:55, Lozz196 said:

I`ve not had that one but had the 21012L (two 10s front facing, the 12 side firing), and yes, on it`s own it was quite middy but in the mix it really shone with a rich full sound, plus the dispersion was amazing, you`d pretty much have to stand behind it to not get the full range of the sound.

I can only echo what Lozz says about the dispersion, the 21012 was a room filler. I don’t recall mine being excessively middley but then again mine was one of Jorg’s cabs fitted with Eminence delta lite 10’s and delta LF 12. Sadly, redundancy meant I had to let the cab go, but I’d have another one of the 21012 with the side firing 12 in a heartbeat. 

1 hour ago, Linus27 said:

 

I will try that. I love reverb and use it a lot on my fretless to great effect. I did try it quickly on the EUB and it got a bit mushy so I think it needs to be subtle so I'll give that a go tonight.

5 minutes ago, Phil Starr said:

I've had a couple noise problems off my BD121, it has picked up some electrical noise from some cheap lights somebody was using at a private party and also made some odd high pitched noises just once at a pub gig. Again it might have been some radio pickup from something faulty in the room. I swapped from 8.4v to 9.6v rechargeables and the problem never recurred but the BD121 is clearly more susceptible to radio pickup than the Sansamp. Both can be quite noisy at the extreme setings but shouldn't be when set straight through. If the noise is mainly high frequency you don't need anything above 8kHz from the bass so you might be able to reduce the noise by filtering or just easing off the treble. I tend to use the SAnsamp nowadays as it is more resistant to old batteries and has been totally reliable but dare I say the Behringer sounds just a tiny bit better to my ears.

 

Most sound engineers much prefer to take a feed before the fx units or modellers as they are often a source of noise particularly when chained.

i had the BD121 and found it was noisy when run on batteries but almost silent on a power supply. I didn’t use it for long before ‘upgrading’ to the real thing which sits proudly on my pedal board and will probably be there the longest of any pedal. 

I’ll chuck in my two’penneth with a vote for the Fender Tony Franklin fretless P bass for no other reason than it’s a fantastic fretless P bass, so much so that mine has become my no1 go to bass. 

I use reverb on my NS EUB but you need a reverb with an eq as you really need to try to emulate the ‘abbey road’ technique of cutting the hi’s and lo’s on the reverb channel.

I used to have a rack with a SWR Grand Prix (1U) preamp, Sampson rack light/conditioner, rack tuner, Alesis 3630 compressor, and Aphex exciter, and a separate rack for the power amp. All totally superfluous but it looked pretty with all the lights on an flashing etc 😂

I still have a smaller rack based setup with the SWR Grand Prix preamp, the SWR Marcus Miller preamp (currently for sale on here), and the SWR Amplite power amp, but it doesnt get a lot of use hence the sale of the MM pre.

I’m using the EBS Stanley Clarke pre as I double between NS EUB and fretless bass but it’s probably a bit overkill for what you want. Failing this, keep an eye out for a Radial Tone Bone. They come up on here quite regularly and are an excellent preamp with DI for EUB. 

So I have just seen that Bass Direct have a fretless one of these for sale second hand for £399 excluding case or gig bag, so I am still a bit off with my valuation. Final price reduction £450 including the case (which has to be worth £50 alone). If she doesn’t sell at this price then I guess she’s destined to stay with me 😎

Watched the video and I think its a little strange that two of the amp/cab sims are Ampeg, yet they have modelled the SansAmp (SVT in a tin) as one of the drives?

When I had mine, the amplified volume and tone was very dependent upon how tight the two Allen key bolts were either side of the bridge that hold the transducer mounting up against the underside of the plate on which the bridge sits. Mine was damaged in transit to me so this could be a result of that, but I found there was a sweet spot between volume and tone and the tension of these bolts.

@Linus27 just to back up what JimmyN2 says, the secret to a double bass tone lies in the way you pluck. If you are playing ‘across’ the strings with your plucking fingers at 90 degrees to the strings like on a bass guitar you get a totally different sound to if you play with your plucking fingers parallel to the string using the side of your plucking finger rather than the tip. When I first got my NS EUB I found it to be too fretless bass sounding, but a NinoMute from bass direct added a lot more thump and a shorter decay, and then because I double between the NS and fretless bass, I added an EBS Stanley Clarke preamp to my meagre pedal board and found that the secret source is in the filter knob. Had I not been doubling, I would have probably gone for the Artec Parametric EQ instead as I have heard a few EUB players who swear by this pedal. Occasionally I will add a little touch of reverb to the NS too as this lets the notes breath like on an acoustic DB.  

There's a great 1x15 500W Ashdown combo for sale on here at the minute for an absolute bargain price (I have no affiliation to the seller) 

14 minutes ago, James Nada said:

This Behringer DI might be worth a punt, if you want something short term, or just to try as proof of concept. Less than £40.

  It allows for connection between amp and speaker.

I've used one for the purpose of running a 'tap' off a PA system, with good results.

 

https://www.gear4music.com/PA-DJ-and-Lighting/Behringer-DI100-Ultra-DI-Box/2BI?origin=product-ads&gad_source=1&gclid=CjwKCAiAxaCvBhBaEiwAvsLmWIqwyGg1Mbmiesh5RYXHvjjP3erUCD01QnvWoh3I44iZaihW8kCNERoC8ucQAvD_BwE

 

 

 

 

 

I’ve got four of those Behringer DI boxes for general stuff like acoustic guitar, fiddle and gob iron, and I have a very nice Radial J48 for my bass in case I run into one of those ‘engineers’ who doesnt want to use the DI out from my EBS Stanley Clarke preamp. In truth, there is no noticeable difference between the Behringer and Radial boxes in a live sound environment. The Behringers can run on either a 9V battery or 48v phantom power. I must confess I’ve never stuck the Behringer between amp and cab as all my tone shaping is done with EBS, and the amp/cab are merely there so that I and my fellow band mates can hear what I am playing. 

I’ve got the 400W Neo version of this combo and I’ve just sold my 1x15 extension cab to @Davy as I’ve never needed it. Great combo, GLWTS

And just to throw my endorsement in, I have albeit briefly played through this amp when purchasing my Vanderkley 2x12 from Si, and I can vouch for both the condition of the amp, and for Si being a stand up trust worthy member of our community. Buy with confidence folks.

Oof 😍 what a beauty! Looking forward to hearing some sound clips

The biggest improvement to our sound came from drastically dropping the onstage volume. The guitarists went from 100w Marshall's with 4x12 cabs to 45w combos running on half power, and I'm down from a 1500W amp head and twin 4x10's to a 400w 1x15 combo. My back loves me again, the band love the fact we can hear after a gig, and the punters seem to notice no difference. 

So I plugged this in tonight to test the 1x15 cab I was selling before sale and I might be making a mistake here 🤔 I’ll leave it another couple of weeks and then withdraw if there is no interest.

SOLD

As I have a significant birthday this year, and as I have a couple of ‘festival’ type gigs coming up, I’m thinking about upgrading my Line6 G30 to the Shure GLXD16+. Nothing wrong with the Line6 other than the transmitter feels very flimsy (battery door already showing signs of failure). Quick question to the GLXD user community, does the transmitter have a belt clip or similar? I have two custom straps with loops to take a belt clip hence the question.

On 26/02/2024 at 23:58, Pirellithecat said:

Yep - had a look at mic'ing up the drums differently - I guess the Glynn Johns idea is a good compromise between  complexity and sound quality.

The only issue I have with the Glynn Johns method is that he was predominantly a studio engineer, and in your average pub band live environment, your guitar and bass amps are going to be behind the drum mics, so even well focused overheads will pick up some bleed. This is why I prefer close mic’ing of the kit, and then a gate to slam the mic shut as soon as the hit has dissipated. 

5 minutes ago, honza992 said:

You probably want to avoid adding too much weight to the bridge area.  I did think about putting them under a pickguard like archtops often do, but in the end the pickguard just didn't look right on a bass.  I may well re-think for the next one though. 

I really like the way Warwick solved this on their Alien basses, tucked away in the sound hole.