krysh

[quote name='sk8' timestamp='1341992107' post='1727418'] i've not found it to bad to be honest with as its tilt back with castors. quite easy to get in the car to. I'm going back to it after my neodynium quest [/quote] sure, my SAD doesn't have a neodym speaker either, only I can't lift this heavy weights anymore.

[quote name='sk8' timestamp='1341991486' post='1727399'] Berg NV412 sounds great with my Hiwatt Custom 200 [/quote] yep, can imagine, only much too heavy.

[quote name='Musky' timestamp='1341990633' post='1727380'] 4x12's were pretty standard cabs with valve amps in the seventies, with some people going for 2x15's. Aside from the barefaced 2x15's, you'll be hard pushed to find cabs like that which weigh in at under 22kg. [/quote] thanks musky, I know this is difficult. I already have the 350W version of [url="http://www.youtube.com/watch?v=Og5__25Mcks"]these [/url]which weighs 14,5 kg with cover and that's also me with my starfire playing the audio file. it sounds fantastic live with my 100W custom made valve poweramp and my acoustic image focus sa and I'd probably only ever need a second one if I'd needed to break some walls, but since it is at home for practice and so available for quick gigs, I'd like to consider more options for the rehearsal room. thanks

any more suggestions? btw, what cabinets had been used in the 60ies and 70ies with this amps? cheers!

[quote name='umph' timestamp='1341923528' post='1726215'] you did keep them yes? some techs will tell you owt. doesn't look like anything was replaced in that pic either. The caps will probably still be within spec but they'll be starting to drift [/quote] what I said, and I know my tech for quite a while now.

[quote name='Mr. Foxen' timestamp='1341917404' post='1726038'] Mine works great with my Super 15. The 69er imitates a crude cab that will choke off the lovely lows from that mighty Partridge iron, those amps were designed and built to a massively higher standard that Ampegs SVTs, and don't need to compensation of such a coloured cab to let them do their thing. You do need to get the output jacks modded, as by standard they are shorted unless you have two jacks plugged in, which is kind of a pain. If you go speakon, get one of the ones that shorts if unplugged. [/quote] thanks, this is realy helpful, I'll have this checked. I was thinking the huge partridge transformers should do better than this ampeg ones regarding the lows.

[quote name='umph' timestamp='1341922411' post='1726181'] sexy ;D Is it refurbished in those pictures? make sure you tech doesn't pinch the gec kt88's if there are any. [/quote] thanks. unfortunately the old gec kt's are completely dead. and no it still has the old caps that would still do it for a while.

thanks bert and chris, from what I hear about BF on the board, you are probably right, and this was the first answer I expected. unfortunately this thing will be too heavy and big for me also regarding shipping to germany. I'd like to specify my question a bit more. I'd prefer cabs that don't weigh more than 22 kg. I already own a great custom SAD 1x12" with 14,5 kg and would definately go for a second one in addition, but since the sound city will stay the reheasal- and loud-recording-amp I'd like a cab I'm allowed to move on my own.

hi fellow basschatters, in a few weeks I'll be the proud owner of this refurbished (new tubes and caps) old beast: which seems to carry the "signature" of mr. reeves by the accurate looks of the board. what cabinet would do this amp justice. I have some to try but you who know the amp, what would suit best with my guild starfire, my sei jazz 5, my custom jazz 4 and my guild pilot fretless. I don't play metal/hard rock, but rock/pop, funk, soul, latin, jazz and fusion. also more info about the amp would be very much appreciated! thanks in advance and cheers!

sorry, double post.

started playing airbass in an airband with friends around 1980/81. then the airdrummer got a real drumset in 1981 and joined a band that needed a bassplayer soon. so I joined in and had my 1st bass in 1982. after half a year I changed to guitar until I made a musical break from 2000-2003. then I also picked up the bass again and now most of the times get paid badly to play either.

I bought one of [url="http://www.harvest-guitar.com/Polyamid-Nylon-canvas-mit-Bueffelleder-trim-oxid.html"]these[/url] slightly used for a decent amount less than original and what the ads say is right. they are the best regarding the portability and durability as a bag plus they have a thick padding with protector on the back side. there are others that have more storage and might protect better (I wouldn't throw mine out of the window with a bass in it). But if I had to buy another gigbag, I'd go for one of [url="http://www.harvest-guitar.com/Bass-Bags/"]these[/url] again. expensive but great long lasting quality worth every cent, and sometimes used available for a good price.

great as usual shep.

Bought 2 sets of stings from Si - fast delivery, well packed, great communications, recommended!

+1 for sei.

thanks, great stuff as usual, shep!

[quote name='gjones' timestamp='1340274342' post='1701995']...upgrading your pickups would be the better oiption. [/quote] ...and even more if you just change your strings to a different make.

well, difficult question, since the pros and cons probably are equal and it depends on the existing tone of your instrument. in my 2 custom jazzes I have an obp3 (active/passive switchable) and an only active audere in the other one. both sound great, but a little bit I miss the possibility to switch the audere to passive - until I use it . I'd suggest to go with a tonehammer or sadowsky pedal first and if you really dig the tone then get a preamp installed. but if you do that, you should only use a high quality one like aguilar, nordstrand, audere, glockenklang, john east, etc... everything else might not be worth it.

I reduced/upgraded succesfully from 7 to 4. two custom jazz basses: one 4-string, one 5-string, one 4-string fretless, and one shortscale semi-acoustic which is my main bass in my band. now I probably can deliver most sounds that I like best. so far no need 4 more.

[quote name='51m0n' timestamp='1340121162' post='1699453'] The age old "loudest drummer/guitarist/keyboard player/bassist in the world" problem. First point he (the problem player) should note is that the publican is right, or you wont get asked back. Secondly when 'getting a level' for the band does the bass player determine their level by how the bass and drums 'meld' into a single instrument out front. I have lost count of the number of times I've seen average pub bands and you cant hear the kick drum for the bass "Well its not mic'ed up" they say - then you need to turn down your amp matey! Very very very few kick drums are all that loud in a room (they have to be tuned by someone very good at it for them to compete without micing them up). So the first thing the bassist will think at this point is "Cripes I'm too quiet!") - dont let yourself get carried away, this is all about discipline, stick with the plan. Then there is the rhythm guitarist, if he/she plays a short sharp E power chord it should be the same level as a snare hit. Try it, not a loud rimshot snare hit just a normal backbeat. Get the drummer to lay down a simple groove (you know the one) with snare on 2 & 4), get the rhythm guitarist to set their level so a chord played on two and four sits exactly right with the snare, you should hear both such as the snare has some chordal quality and the guitar has the punch of a snare. Get the bass in there on 1 and 3 with the kick drum (are we having fun yet?) Keys are a swine, they need to be eq'ed to not stamp on to omany toes (not easy) and in level the left hand should add something to the bass without over powering, and the right hand should be similar to the rhythm guitar, but, if they play busy you need them quieter, and alos both bass and rhtyhm guitar quieter or the drums disappear again. If in doubt put the keys back a little - if they have an amp and turn it up - sack them (I'm not joking, same for all the rest of the band). Now vocal should sit over all of this, and lead guitar should be just below the vocal (sacriledge? tough, this is all about the punters). Be super hardcore about it for a few rehearsals, see how quiet and well mixed you can get the band to sound, learn to rock out without earthquake volumes. Anyone who cant handle it can walk. Next time you gig the band no one will say you were too loud, everyone will say they could hear the vocal, and you will be the most professional sounding bancd on the pub scene. I've seen about three bands manage this in 20 years, (I dont think any band I've been in has quite managed to get every member to buy into this idea enough to pull it off, I got close a couple of times). It can be done, but it is properly tricky to get right. The results are really amazing when you do it. I really recommend using a Zoom recorder device (H2 or equivalent) and record your band normally in rehearsal then go through this process and re-record, take the recordings home, even out the volumes and send them out to the band asking them which they prefer. The volume evening process is important, just normalise the tracks to keep it simple. Everyone will prefer the one recorded second for the mix and sound quality, because it will sound better. Job done. [/quote] you nailed it.

[quote name='nick' timestamp='1339969612' post='1697131'] My '83 Ibanez Roadstar RB920 desperately needed a refret..... so I decided on a defret! Dave at Waghorn's in Bristol did a great job of it. ... [/quote] that's a beauty.