JPJ

[quote name='Dan Dare' timestamp='1484742752' post='3217961'] Only if it's posh Birch ply... [/quote] Er posh 'voidless' birch ply

So I read the comments on here about the TC SpectraComp pedal and was seduced by its diminutive size so I ordered one. First impressions are really favourable, and the extent of the TonePrint editor software is phenomenal. Only had limited time to play with this so far, but I'm liking the Nathan East TonePrint a lot and this will probably be my 'go to' until I get to grips with the editor.

[quote name='T-Bay' timestamp='1484600398' post='3216761'] I have been thinking about the only thing I don't like about the EB3 - neck dive. I appreciate some don't mind it while others find it annoying beyond belief. I am fairly sure I fall in the second category. So what can you do about it? I could add a pound of lead behind the bridge, not ideal, I could covert it to headless, interesting, but no. Or I could have a think and see if there was way to maintain the lightweight overall and good looks whilst sorting the issue without spending a fortune. Lightweight tuners make a difference I understand, but how much? Varies depending on who you speak to but most agree it's not a great deal. So the only real way is to make the front strap position move closer to the head. I could just drill into the neck but that seemed an ugly way to do it and could cause other issues. I love working with different materials and this seemed like a problem that could be solved with a bit of lathe and miller work. With a couple of lunchtimes devoted to it I have come up with a prototype as seen in the pic below which moves the pivot point quite a distance but doesn't interfere whilst playing (well it doesn't with how I play). I still have to finish the final policy and wire up so haven't had it all together yet but the balance is so much better and will improve further when the bridge, electronics and covers/ knobs are on. When I know it works properly I will spend some time and make a 'pretty' one. [/quote] Nice work, I like the way that is hidden behind the neck

I love my AG500SC, its the only non-SWR amp I've gigged with, and I have played some pretty big stages with it and haven't found it lacking in the either the horsepower or low end department. As Lozz196 says, the two mid controls are a bit too close together sonically, but other than that it ticks all the boxes I need ticked. As to reliability, save for both the power and mute LED's giving up the ghost (at separate times), mines been super reliable to date.

So I've just used mine at a rehearsal for the rock band. Just about kept up with the band with the master at about 3pm on the clock face (I.e. about 80% of its travel). By then it was starting to sound very 'boxy' which you would expect given the size of the drivers but it didn't object to running at this level and the amp didn't even become warm to the touch. Very impressed, now thinking of building a second 2x8 to sit under it and liberate the full output of the amp.

[quote name='Andyjr1515' timestamp='1484325183' post='3214748'] Actually, I was thinking of filling it with light foam....have I dreamt that somewhere?? [/quote] I have also heard of filling chambers in musical instruments to fight resonance and feedback. 😎

Have a word with the chaps at Blue Aran. I'm sure they'll be able to recommend/supply a suitable attenuator that you can fit to tame the beast

[quote name='moonbass' timestamp='1483898714' post='3210968'] .....and currently have lost the main output meter display, but not bothering me immensely. I've been close to upgrading to the X32 rack several times, but really not found an excuse to yet! [/quote] The main output meter disappeared after a recent iOS update, so hopefully this will be reinstated when (if) we get the long awaited update to the iPad app (currently 16 months and waiting). I've considered a x32 Compact for the easy of having physical faders to grab as I mix from the side of the stage whilst playing, but I cannot really justify the cost versus the number of gigs we do.

[quote name='paul_5' timestamp='1477926393' post='3165304'] Aphex punch factory (the old orange one). Really simple optical compressor. [/quote] This. But after years of being convinced that I needed a compressor on all of the time live, I now find that that is not the case. That said, we're about to add a new song to the set that has a heavily compressed bass intro so I might be back in the market soon.

[quote name='Twincam' timestamp='1469057969' post='3095509'] Just looked it up. Very cool! [/quote] It is one hell of an amp and all I'd ever need. The small downside is it's weight, which is sufficient to exert its own gravitational field. Rumours are the Chinese are planning a space mission to land men on mine 😂

Been using one live since they were first available. Excellent piece of kit, loads of features and I have had nowt but compliments on the sound. Lots of tales re WIFI connection stability, but I run ours with a airport mini on 5ghz and have had no problem with dropouts since. Downside is support for the iPad app is appalling (been 15+ months since the last update) and there is too much variability between the different versions of the app (windows/mac/android/iPad). The X-Air series come with a free licence for Tracktion which I am only just beginning to get my head around. My intention is to record a few tracks from a show but as I mix from the side of the stage whilst playing, I need to grow another pair of hands to accomplish this.

I have: Basses x 7 Amps x 3 (SWR SM1500, Aguilar AG500SC, TC Electronics BG250 208) Cabs x 2 (SWR Goliath 2 reconed with Eminence Deltalites, SWR Goliath Snr)

Years ago, I had an Ohm combo, can't remember now if it 80 or 120 watts 1x15, with a five band eq, sort of graphic but using knobs rather than sliders. Anyway, not knowing anything about impedence etc I added a 1/4" jack socket 'in parallel' with the integral speaker and ran a second no name 1x15 cabinet underneath it. That was my gig/rehearsal rig (more rehearsals than gigs if truth be told) and the second speaker never bothered the all transistor amp one jot. Now I might have just been exceptionally lucky, and the fact that the internal speaker farted out at anything more than half volume might have been the saving grace, but that amp ran that way for years. I'm not suggesting this is something we should all try, but sometimes, the maths and reality don't exactly align and you can get away with something the science says you can't.

Thanks for sharing, I saw the same post and thought about doing the mod to mine, but to be honest, it's only used for home practice and the occasional 'acoustic' gig where it has the PA to do the heavy humping. I don't find the OEM speakers to be lacking in bottom end, and generally I find the combo to be a super little simple amp. I previously owned a PJB Briefcase, and whilst that is a great bit of kit, it really couldn't hack it next to a drummer, where as the bigger speakers of the BG208 can cope admirably.

Radial Bassbone, not cheap but the absolute bassists 'Swiss army knife'

[quote name='Woodinblack' timestamp='1482512916' post='3201236'] I think it is because of diminishing returns. A two pickup bass gives you a big variation over a 1 pickup. A 3 pickup doesn't add anything like as much of a difference again, so not really as significant [/quote] I beg to differ, I built a five string precision in the style of the Fender Stu Hamm (2xJ, 1xP) with a five way switch, and the variations are excellent. In fact the neck J + P is one of my favourites for a mud'bucker type Jack Bruce tone. [URL=http://smg.photobucket.com/user/JPJ/media/PHammVFFFinished.jpg.html][IMG]http://img.photobucket.com/albums/v208/JPJ/PHammVFFFinished.jpg[/IMG][/URL] [URL=http://smg.photobucket.com/user/JPJ/media/PHammVBodyFinished.jpg.html][IMG]http://img.photobucket.com/albums/v208/JPJ/PHammVBodyFinished.jpg[/IMG][/URL]

Ah a thing of beauty! I still plan to do a headless T'bird one day (I know, sacrilege etc etc)

The best is my Overwater J five string. How does it compare to the Fender Jazz V, well I owned an anniversary five string active (five in a line headstock), and as befits the step up in price, it knocked the Fender into a cocked hat. I should say that all of my five string basses are active, so I am no use to you when you talk of passive, but I find the 35" gives a much better B string than a 34". I have also owned a Musicman Stingray V and I found that that was the same as the Fender in that the B string took longer to bloom, which felt like latency when you were playing. All the 35" scale basses I've played don't suffer from this.

I've got a 36" scale Overwater, 2 x 35" scale Overwaters, and a quad of 34" scale. Yes you can tell the difference if you go from the 34" to the 36" but as I normally gig the 35", the change to 36" is hardly noticeable at all. 40" though, that would be another thing all together!

Cant believe how serious its become around here. 19 replies and no one has said "Eleven, because its one louder than ten" (c) Nigel Tuffnel