JPJ

[quote name='flyfisher' timestamp='1390850081' post='2350402'] . . . except that, using the 'big iron' criterion, you might as well argue that those new-fangled toroidal transformers just don't have the grunt of a real laminated transformer. [/quote] Personally I find the more circular nature of the current produced from the toroidal transformer is much better suited to bass than the squarer current that you get from the older laminated transformers.......

[quote name='LukeFRC' timestamp='1390843583' post='2350228'] so what is it? we cannae tell from the pictures. [/quote] That's the innards of my SWR SM1500

I'm with WoT - give me big iron every time [URL=http://smg.photobucket.com/user/JPJ/media/IMG_0785_zps2d111b8e.jpg.html][IMG]http://img.photobucket.com/albums/v208/JPJ/IMG_0785_zps2d111b8e.jpg[/IMG][/URL]

Depends, if I'm mixing or I know the engineer, then I'll go pre and let the PA do it's job. If I'm not mixing, or I don't know the engineer or I don't like the look of the PA, then post.

I'm afraid the v2 chinese made SRM's have a bit of a reputation for tripping out on thermal overload.

The main problem with the class D stuff is the lack of real umph. There is no other way of describing it but all the class D stuff I've tried is missing that real 'weight' to the sound. I do want to try the Aguilar Tone Hammer as allegedly this amp suffers least from this issue, but until someone brings out a class D module that sounds the same to my knackered old ears as a good old a/b design with huge transformers, then I'll keep the SWR and continue to be on first name terms with my chiropractor

[quote name='gillento' timestamp='1390558218' post='2346713'] Well, in the meantime I got back my bass. Dave did a great job! Here it is: the black one: [/quote] Wow that looks stunning! I did see a couple of progress photos of your bass that Dave posted on Facebook - I knew he wouldn't let you down!

Before I say too much, I should declare that I'm a huge fan of John's work, having a J-Retro in my Overwater J5, a combination of his mid-stack and BTB controls in my self-built P5, and having a spare J-Retro that's destined for one of my next build projects. I recently traded a Musicman Stingray 5 for an Overwater Perception Deluxe 5 with our own Rumple (I should also say I'm a huge fan of Overwaters). Whilst this bass was great, it was almost too polite for me. I had deliberately gone for a Perception rather than a Progress as I know from past experience that I don't get on with thru-neck basses, but still the Perception didn't appear to have the 'grunt' of my J5 and no amount of knob twiddling on the stock Overwater/East three-band circuit could rectify this. A quick call to John and a talk through my requirements resulted in an order for a custom U-Retro, five knob no switch variant with an active blend control. The preamp duly arrived last Saturday and I immediately got to work installing this in the bass. The installation was slightly more complicated than a straight swap as I had to open out two of the existing pot holes to accommodate the fatter shaft of the dual-concentric pots but once this was done, the rest of the install was very straight forward. I should also say that I adapted the control layout to suit my personal taste (top row is now volume, bass/treble, mid/mid frequency, bottom row is pan and passive tone). Anyway, once installed - wham there it was, the missing oomph! I know that both the stock J-Retro and the U-Retro have a in-built bass & treble boost and having opted for the stock U-Retro, albeit with an active pan control, as against a flat response U-Retro that John also offers, I was expecting an improvement but the new preamp has blown me away. Something that really has surprised me is the passive tone control. I have an old 1980's Ibanez RS fretless that has a similar two-band active circuit with passive tone, and this never seems to do much on that bass. However, on the U-Retro, it gives you a quick 'tweaking' control meaning that you don't have to adjust your basic tone setup mid-gig to either highlight or remove a bit of additional top end. Very useful control to have, and one I can actually see myself using frequently in a live gig situation. All in all, I'm over the moon with the improvement the U-Retro has made to the Perception. Its turned this bass into a keeper and plans are already afoot to have her professionally refinished to make the most of the wonderful flame maple top and back [b]Edit 27-Jan-13:[/b] I gigged the Overwater with the custom U Retro on Saturday night. With the pan slightly favouring the neck pickup, the bass rolled off a little from the centre detent (still a boost as the bass is boost only) and the passive tone about halfway open I found my personal tonal nirvana! Big solid bass with a lovely musical mid-range that helped me cut through the rather noisy on stage sound. The gig reinforced my earlier assessment and showed just how useful that passive tone control is in partnership with the active bass, mid & treble.

Supertwin and a '69er, at the same time? That's not a bass rig, that's a demolition engine Seriously though you don't like the HD350, you said so yourself, and if my millionaire client would just pay his bill instead of faffing about , I'd help you out by taking it off your hands

Thanks for the input guys, hmmm do I or don't I? [quote name='ebenezer' timestamp='1389890086' post='2339179'] hey kev.....have you got money burning a hole in your pockets? [/quote] Haha Mark, not quite but I do have an ache in my back

I have serious gas for a new 'smaller' amp for smaller gigs. My main rig is an SWR SM1500 into either a Goliath Snr or 2 Goliath 4x10's. This is a killer rig but its actually overkill in some small pubs and I'm thinking of building up a second rig for smaller gigs thats a little more user friendly and easier on my ageing back. My main issue is that in both the bands with whom I regularly work, the guitarist uses a 100w Marshall valve amp and matching 4x12. That is a lot of guitar to live with and add in Animal on the drums and you will see why I use the SM1500. Also, we don't tend to put the back line through the PA as its more of a vocals only PA rig. I have tried smaller form factor class D amps (including the Bass Terror) which don't cut it for me as I, like many others, find there is some 'authority' missing in the fundamental class D 'tone' that no amount of EQ'ing can compensate for. I'm tempted (sorely tempted) by the EBS HD350 that's for sale on this very forum but do any HD350 users use theirs in a similar situation? I have heard it said that the HD350 is actually "louder' (theres that subjective term again) than the 350w rating suggests but is this just a myth or is it fact? I'm thinking that if I do go for the HD350, I'd probably build a nice 2x12 to go with it - any thoughts? Any advice/guidance will be gratefully accepted

[quote name='steve-soar' timestamp='1389631870' post='2336342'] That's the one. I bought it from a local guy who in turn bought it from John. When my old singer said to me, "give us a hand putting this in the car" after I had put it outside the front door, I told him to lift it up himself. He laughed like a fool and said something like, "those Germans are nuts, how did they manage that?". [/quote] You've just got to hope the helium doesn't leak out because then it will be as heavy as my SWR

[quote name='steve-soar' timestamp='1389617258' post='2336094'] I use a Techsoundsystems 6x10. It weighs 66lbs. 5.3 ohms and handles 2,100 watts. Needs loads of juice to make it sing but when it is in its zone, there is nothing that any other single cab can do to touch it. The low end response is incredible. The mids are its strength and the top end has a very comprehensive tweeter that does the business. [url="http://www.tech-soundsystems.com/eng/10er/610.html"]http://www.tech-soun...g/10er/610.html[/url] [/quote] I remember seeing our very own Warwickhunt pick one of these out of the boot of his car one-handed, I thought he was some kind of superhero until I lifted it myself - these things are stupidly light compared to most 4x10's let alone 6x10's :-)

[quote name='winterfire666' timestamp='1389611014' post='2335998'] i always liked the SWR Goliath 6x10 for rock and metal and you can get em fairly cheap 2nd hand, just spotted one on this very forum. [url="http://basschat.co.uk/topic/214937-swr-goliath-senior-6x10/page__p__2329755__hl__swr__fromsearch__1#entry2329755"]http://basschat.co.u..._1#entry2329755[/url] [/quote] Yep, I grabbed one locally late last year to pair with my SM1500 and I can confirm what others are saying, the 610 format works so well. I'm also lucky enough to have 2 Goliath 4x10's and there really isn't a lot of difference between the two rigs, and the 610 with its wheels is a lot easier to move around. I've never found a single 4x10 to be enough in a band with two guitarists using 100w valve heads and 4x12's but the 610 keeps them in check and then some :-) [IMG]http://img.photobucket.com/albums/v208/JPJ/IMG_0864_zps17e5864c.jpg[/IMG]

[quote name='Fat Rich' timestamp='1389382958' post='2333759'] whichever bass had the single piece sounded ballsier, whichever bass had the monorails sounded a bit too polite. [/quote] That confirms my suspicions and is a much better description of what I feel I'm currently missing! :-)

If we all had usernames based on gear brand mine would be 'GAS'

[quote name='chris_b' timestamp='1389358840' post='2333240'] Looks like I didn't type what I was thinking! Single, as in one unit for all strings, rather than individual bridges per string. [/quote] Ah yes, now I get it In that case I agree

[quote name='BruceBass3901' timestamp='1388750841' post='2325522'] I have the ACS PRO 17 moulded plugs (the £140 set) and I cannot recommend them enough. I'm afraid that I cannot say anything about the T3s, but if all you want is protection, the ACS PRO range is fantastic. [/quote] Me too and likewise, I can't recommend them enough. The only thing that takes a little getting used to is the isolation between songs - you still hear the audience but they are somewhat distant. The upside is you hear everything you play because nothing gets lost in the mush on stage.

[quote name='chris_b' timestamp='1389350345' post='2333075'] A single bridge unit will have more mass available to each string so I can see why it should produce a better tone and have better sustain. [/quote] Not sure I agree with this, the single bridges are not that big, I'd recon 1/5 of a badass or equivalent is more than the mass of one of these bridge units.

[quote name='Fat Rich' timestamp='1389346997' post='2333029'] Status use individual bridge pieces a lot these days, I had an S2 Classic 5 string headed bass that had a slightly "floaty" sort of tone and lacked that sort of grand piano oooomph I was expecting. So I put an ABM high mass bridge and it fixed it, gave it a little more sustain too. [/quote] That sounds like what I'm experiencing - food for thought!

What sort of shop was it, butchers or iron monger!

Last year I put together a bitsa fretless using one of those 'roadworn' style Vintage Icon bodies. At first I thought it was cool, and it certainly got plenty of compliments but the roadworn look is wearing on me now (no pun intended). The worst thing about the Vintage versions is that the paint isn't removed down to the wood but down to a rather ineffective wood look finish (think photo-flame). This year will see the body stripped and a nice black nitro finish applied that will be allowed to wear naturally with use.

Im surprised no one has mentioned the Spector Rex bass on this thread - far superior to the Epi ones imho and still retains the classic t'bird shape whilst offering a lot

I have an Overwater Perception with the ABM style one bridge unit per string type bridge(s). Whilst I love this bass, there is something missing from the tone and I can't quite put my finger on it. I'm beginning to wonder whether its the lack of cross talk between strings due to the individual bridges? To explain my warped thinking, I've tried neck through basses and found that I couldn't get away with them due to the more complex nature of the tone, which seemed alien to me having spent 30 odd years playing bolt on neck basses. This is the first bass I've owned with the individual bridges and I'm thinking that the lack of whatever it is that is missing is coming from the disconnection of the strings at the bridge end. Am I going mad or has anybody else experienced this with this type of bridge setup? All my other basses have variations on the Fender BBOT either in stock, hi-mass or Badass formats. Thoughts?