Wolverinebass

[quote name='Pow_22' post='880272' date='Jun 28 2010, 08:27 PM']i recently acquired a HA5500 and am looking to have it permanently stored in a flight case. Im asuming for this i need rack ears? anyone know where i can source them and any tips on actually flight casing it?[/quote] I've racked mine. Try this. [url="http://www.thomann.de/gb/hartke_rackmount_35005000.htm"]http://www.thomann.de/gb/hartke_rackmount_35005000.htm[/url] You have to buy 2 as they sell them singularly and most importantly WITHOUT screws. Hartke are having a laugh with that one. Who racks half an amp?!!

No, that's true the stuff isn't irreplacable. However, you might think that to get it all 2nd hand off ebay will cost a lot more than what someone's paid for them. For example: Ashdown Rpm £220 Digitech 2120 £300 Digitech Quad £80 Power conditioners say £300 Trace Elliot V8 £1000 Trace Elliot Power Amps 3 x £300 TC Electronics 1128 £350 Not to mention the hassle of tracking it all down. It took me 3 months to actually find a 2120 for example and when was the last time a Trace Elliot V8 ever came up on ebay? Not that often really. So irreplacable, no, but insanely difficult to replace or even find - most definitely yes. Trying to get the cabs is futile. It just won't happen. I did have the pleasure of playing that 2x12 and 1x15 and they are absolutely mental. The only Ashdown stuff I've ever played that sounds good. The reason is that the cabs weren't designed by Ashdown. They were designed by Acoustic Sound Solutions which Ashdown bought. Just for the records.

I noticed this the other day. Christie's auctioned off all John Entwistle's rig. Apparently he GAVE IT AWAY in early 2002. Who in their right mind would give this lot away? No wonder the guy was broke. Ludicrous to think that the whole control tower went for only £1500. A Digitech 2120 alone is £300 SECOND HAND. It's just mental. For £2500 you would have got the whole rig with the flared bass bins. The lot. I bet lots of people on here will have paid more than this either for a bass or the rigs which they use. [url="http://www.christies.com/LotFinder/lot_details.aspx?from=salesummary&intObjectID=5331555&sid=4b9b46ec-8a80-4ea1-a96d-9d8b4d38a96e"]http://www.christies.com/LotFinder/lot_det...6d-9d8b4d38a96e[/url] [url="http://www.christies.com/LotFinder/lot_details.aspx?from=salesummary&intObjectID=5331556&sid=4b9b46ec-8a80-4ea1-a96d-9d8b4d38a96e"]http://www.christies.com/LotFinder/lot_det...6d-9d8b4d38a96e[/url] [url="http://www.christies.com/LotFinder/lot_details.aspx?from=salesummary&intObjectID=5331557&sid=4b9b46ec-8a80-4ea1-a96d-9d8b4d38a96e"]http://www.christies.com/LotFinder/lot_det...6d-9d8b4d38a96e[/url] [url="http://www.christies.com/LotFinder/lot_details.aspx?from=salesummary&intObjectID=5331558&sid=4b9b46ec-8a80-4ea1-a96d-9d8b4d38a96e"]http://www.christies.com/LotFinder/lot_det...6d-9d8b4d38a96e[/url]

I've been debating this for some time and have finally decided that my rack is too heavy with my Hartke 5500. It's a back breaker. So, I've decided to do the preamp/poweramp route. I was thinking Sansamp RPM, and a poweramp. For various reasons, I want to keep the weight of the poweramp 9kg or less. I know that someone is going to say get a Peavey IPR1600, but I have to have something 1U so it'll fit in my already ludicrously stocked up rack. Now, I've scoured about a bit. I notice Dood recommends Powersoft but they seem to be impossible to find aside from Thomann. The BK electronic looks decent, but I'm wondering about if this is made any more as I read on a previous thread that they are discontinued. [url="http://www.bkelec.com/Pro/Amplifiers/MXF1200D.htm"]http://www.bkelec.com/Pro/Amplifiers/MXF1200D.htm[/url] The Belgec stuff looks okay. [url="http://www.beglec.com/#product=digit1k0"]http://www.beglec.com/#product=digit1k0[/url] Is it worth getting a sort of middle of the road class D? Such as this? [url="http://www.kam.co.uk/index.php?action=product&product_id=354"]http://www.kam.co.uk/index.php?action=prod...;product_id=354[/url] One thing that puzzles me about this is the specs of the above. Whilst I understand the bridge mode stuff I don't get. Why do double channels at 4 ohms? Do folk think this is a mis-print or have they forgot to put "peak" after it? Still it does look like a fair bit of amp for £300. 2400 watt power amplifier 1200w+1200w @ 4 Ohms 600w RMS+600w RMS @ 4 Ohms 300w RMS+300w RMS @ 8 Ohms 2400w @ 8 Ohms bridge mode 1200w RMS @ 8 Ohms bridge mode Whilst I don't want to go totally mental and twonk £1K on a light power amp, I don't want to get a cheap disco piece of crap. If anyone has any good suggestions or uses something similar I'd be grateful for views if like everything you get what you pay for or is a super light, 1U poweramp in the region of 500W - 800W a myth or cost more money than Lloyds owe the Treasury? Opinions are greatly appreciated.

Having been intrigued by the Super Twelve, I notice that it's mentioned on the web that you can run 2 cabs if you have a massive amp like the higher end Trace Elliots or Ashdowns that have double 4 ohm channels. My question relates to the stacking for best sound dispertion. If you're someone like me who has loads of rack gear do you (a) stack them both on their side so that the ports are at the bottom (b) stack them vertically (though that would be very high) © Put them side by side Does the way you arrange them make any difference to what sound you'll get to any great degree? Or say you have for example, a Vintage and a Super Twelve, would they be best to lie on their sides so that any rack gear you'd be using would be at a managable height? Merely curious. I did notice the modular rig pages on Alex's website and noticed that the compact/Super Twelve stack would be very high and if you're rather puny and short like myself there is no way you could lift anything remotely heavy that high. Opinions appreciated as I'm toying with doing serious upgrades to to my amp/cabs setup.

Try a Rolls SX21. It's not switchable and you'll have to mix the signal back together once it's been processed. It's utterly tiny and the crossover itself is tiny. I had contacted Max about it but he steered me in the direction of a mix unit which I use as the combination of the splitting and crossover he suggested might prove a bit pricey. Had he done a crossover then, I probably would have bit his hand off for it. If/when he does make such a device it'll more than likely be genius.

[quote name='OutToPlayJazz' post='823512' date='Apr 29 2010, 10:45 PM']I know a lot of people lust after the Buzzards - And to have the very last production model is something very special indeed! Congrats on a stunning instrument [/quote] It was pure chance I got the last one. I was saving for it then it got wiped from their website and when I phoned Dawn said I had 3 weeks to get one due to Warwick setting their pack dog legal team on them. So my father in law lent me some cash. When I told him a while back how much it is now to try and get one he said "Why didn't you tell me?!! I would have lent you the money to get 2!!" I doubt I'd have been able to eat beans on toast that long.... I think as well it's that Rob is just such a nice guy. A few years ago I took the buzzard to the Bass Centre to get the action lowered. I told them not to do anything else as it was new strings and batteries. They changed the batteries and jammed one in with the plastic cap still on the 9V and screwed all the contacts. Rob kindly fixed it for me (for free!!) and we had a bit of a chinwag. I tried a few other basses which were about such as the Streamline and a couple of Mark Kings. Superb. I'll never go back to the Bass Centre for anything. For those interested, this was about the time that the Streamline was reviewed in BGM and I asked what sort of stuff he had in the pipeline. Rob mentioned that there would be a bass with a large body "sort of like the buzzard, but maybe something like an explorer." I was already salivating in the taxi back to the station. I guess we'll see what new models he has in store for us.

Now for the mother of all Status basses. My very own Buzzard. I got this in September 2005 (new of course) and it is apparently the last one ever made. I had planned to save for a year to get one. I'd given up smoking and everything then all that Warwick rubbish happened. I was skint for 8 months after that. The sweet taste of beans on toast became a regular occurence. It was all worth it though. The thing is a beast and arguably, the best bass bass guitar ever made. I'm sure lots of people will disagree. Just my opinion.

[quote name='jim_at' post='804788' date='Apr 13 2010, 12:41 PM']I'm not sure how light you're talking, but the Ampeg SVT-3 Pro is pretty small and light, with a decent full EQ.[/quote] I would define "light" as 10kg or less. I'm not sure if that's the norm. My Hartke is 17 or 15.8kg once it's out the wooden casing. The Ampeg comes in at about 13kg if my conversion from lbs to kg is right. Surely amp manufacturers are missing a trick here by not catering to those players who like me want almost obsessive compulsive control over their sound whilst not breaking their spines for it? Maybe it's just me...

I suppose it's all taste really. Whilst some amps with dials are great, I generally don't get on with them simply because I kind of need the visual cue to shape really. I think the point about precision of either graphics or parametrics can be argued for some time and it's all what works for you and your sound. The cost thing that Crez5150 mentions from manufacturers doesn't surprise me at all. Quite pathetic on their part really. In my case, graphics tend to work best as I flick between sounds quite a lot and generally they don't sound quite right if you only use one setting. Possibly something like an old Trace MP11 would be the answer, but I'm sure someone is going to say that that preamp weighed about as much as the population of Texas.....

Both of them seem reasonable, but I've been wondering about this for some time. I've never played either a Peavey or an Ibanez head. I remember once I used an old TC Electronic module which was something mental like a 32 band EQ into a power amp and that was genius. I suppose my question should have been where does one get a lightweight amp with most of the features of the current Trace Elliots and doesn't weigh a ton or cost more money than Gordon Brown gave to Lloyds? No doubt if it did exist, one would have to sell one's soul to satan to get it.

I've been wondering for ages why nobody has done a lightweight amp with a decent graphic EQ. Discounting the Superfly by Ashdown (for reliability problems) and the MoMark by Markbass that have rather primitive 6 or 7 band EQ's how come nobody has done one with a 10 band? For some reason I like sliders rather than dials and yet the fashion at the moment is to have more dials than you can possibly imagine. As much as I love my Hartke, I just can't be bothered with the weight sometimes and nobody seems to do something comparable. Anyone got any suggestions?

Well we do love lights don't we? The blue light is a mix from SFX which Max kindly made for me. The Pod is great, but you can't beat the Digitech for Quad chorusing!! Get in!! I didn't think that the version before XT was that great to be honest, but that's merely my own opinion. The rack is the same height as the 1x15. So it's not small, but it is somewhat cumbersome. The Hartke is more than half the weight of the whole thing. The case is actually on wheels as you can drag it like a wheelie suitcase. If you look at the bottom left of the rack you can just see the wheel sticking out. If I put the stuff in a 4 wheeled rack it doesn't solve the problem of stairs and plus it's going to be heavier due to the frame. Plus all the controls are going to be well low. [quote name='chriswilliams666' post='802739' date='Apr 11 2010, 04:27 PM']It's all about the lights dude. How does that Line 6 sound in a live situation? I'm after a Bass POD Pro, the rackmounted one before they went XT etc. It looks like your rack is the same size of your cab. Have you ever thought abount getting a rackcase on wheels, and placing it beside the cab? Just an idea, as it looks like a lump to place on top of the cab![/quote]

Don't give up. Plus playing gigs can be just as annoying as being in a band with folk who are idiots. My current band, the drummer is one of my best friends, but is ludicrously unreliable. It's a pity because he's a fantastic drummer. I've had, (just like I'm sure like most people on this forum have had) awful experiences with let downs. It happens sadly. I would think that something will come along. It always does.

Every GK I've ever played has been fantastic. All have been a mixture of heads (2001, 1001) and cabs Neos and RBH's. The sound is great from each and like everything it depends what you want. I found the Neos to be more what I wanted, but everyone's different. The one thing I can't understand is why do they have the dials from left to right as treble to bass rather than the other way round? Who in their right mind EQ's an amp treble first? Unless I'm being utterly stupid here I'm sure there must something that approaches a logical reason....

Well, here's mine. After some searching out of stuff (such as procuring the Pod XT Pro from Tombboy) it's all finally come together and it's somewhat monstrous. Not in terms of the amount of speakers or cabs, but in other ways. Some of you may think that I've taken the processing much too far. However, it's all on the treble side and the Pod is in the Digitech's loop which is mainly to prevent gain stacking. At the moment, I'm running through making patches for the buzzard. The fun starts when I have to make patches for the Alembic and the 8 string. Totally different animals.

I use Optima. The gold versions a la Entwistle. Aside from the fact that they look amazing they sound great. [url="http://www.thomann.de/gb/optima_2319.htm"]http://www.thomann.de/gb/optima_2319.htm[/url] I used to use Elites which were okay. Then Rotosounds which were reasonable. Then when I got my buzzard I started using Status' strings which last forever. I then thought I'd try something else and the Optima Gold are probably the best set I've ever used. Nice mid range crunch. They certainly work for the tapping sort of stuff.

The 8 string is just on Sweet Angeline. The other is a 4 string (buzzard). In the 8 strings case there is a marginal amount of overdrive and then some chorus on the signal above 800Hz. The 4 string is just simple chorus added above 400Hz just for a bit of extra "zing." It probably is my favourite bass sound recorded that I've done for a while, but sometimes things sound awful.... Fair comments about the vocals though the tracks are unmixed in the main and they need a bit more stuff done to them. Generally, I've never been one to bother about panning, but my guitarist seems to like the separation really. As long as folk hear me!! Thanks for taking the time chaps, it's appreciated.

Anyone got any thoughts? Anyone? If it's total pants, please feel free to say.

In retort to the original question I'd just say no unless it was for a mate. I refuse to play stuff that won't challenge me or that I find interesting to play (regardless if I enjoy listening to it) as it's just not worth it. I'd rather play stuff I've written in a band format rather than whatever cover is the order of the day. This may come over as somewhat snobbish. I'm about to elucidate to why I think like this. A few years ago I was between bands so I thought I might try a few cover bands. So I went for a few auditions. At one of them I asked if they wanted the bass EXACTLY as it was recorded and they said "no." I took this as a sign to fill out some simple songs. I then got asked to play exactly what was recorded - I wasn't even trying that hard or even being flash. No problem, I know the songs. It then got ridiculous, I asked what they were specifically looking for in a bass player - "someone who can push the envelope" was the reply. How can you do this I asked if you're doing everything exactly as it's recorded? I found this somewhat ironic given that they were playing the wrong chords on quite a few songs "Pinball Wizard" and then played "Jumpin' Jack Flash" in the wrong key!! Do as I say not do as I do? Indeed. I'm sure as a multi-instrumentalist quite a few people don't have to listen that carefully to tell if someone's playing the wrong version of a chord to a song they know well especially say if you can play it on different instruments. If you can see their fingers on a guitar you can usually tell. Needless to say these morons actually still get gigs and frankly this one experience has put me off ever doing cover stuff again as I was very close to losing my temper in a rather extreme way at the ludicrous patronisation on offer. Maybe this should be a reply to "should I stay in my bedroom as opposed to doing covers with folk who have delusions of grandeur and aren't actually that good." Sadly that topic doesn't exist. Yet. Sorry for the vent, just had to get that out my system!!

I need some opinions on this. Myself and my guitarist have been reasonably busy of late and I was wondering what folk thought. I've attached a couple of songs below. Both are unmixed, but you get the general idea. One I've put 2 versions of. With keys and without. I wrote Nothing To Lose and my guitarist wrote Sweet Angeline after a jam and I wheeled out the 8 string bass for that just to make it sound more chunky. For some reason he hasn't recorded the chorus vocals yet. Opinions gratefully taken on sounds, technique and even if you like this sort of stuff. Obviously I'm mostly referring to the bass, but all opinions are welcome.

A fair point that you get what you pay for. I certainly never got on Carlsbro amps. I can usually get a good sound with any amp I try (as you would imagine you would have to if you played an Alembic), but they were just awful. However, a while back just to illustrate my point here I played a gig about 500 yards from my house. The bass amp provided was a 1x12 Carlsbro. On seeing that I immediately went home and got my stack after trying it. Imagine if you will. A Status Buzzard sounding flabby and generally a bit rubbish. Virtually nothing would sort it out so I got my own rig for my own soundcheck. Every single other bassist sounded awful during their soundcheck (if you could even hear them) and all of them asked to use my rig. Nothing spectacular, just a Hartke head and Markbass cabs. On the other hand, I agree with Sarah. New strings and good ones are always worth it.

A new amp is the order of the day. I played a Carlsbro a few years ago and it was just ..... awful. Never again. They make Ashdowns sound crisp and I regard them as being very wooly indeed. I think as well, you're playing something that's 45w against a full band? Ouch. No wonder you're struggling.

Bought a Bass Pod XT Pro off Jamie. Really quick delivery and everything was all good. A top bloke. Couldn't ask for a better guy to deal with.