SisterAbdullahX

[quote name='Spartacus' post='545105' date='Jul 20 2009, 08:40 AM']Its easy to do. Rarther than enlarge the holes in the Hartkes input plate its easier to get a new one with the right size cutout for a speakon socket as theyre larger than a jack. Try [url="http://www.cpc.co.uk"]CPC Farnell[/url] or [url="http://www.bluearan.co.uk"]BlueAran[/url] or a Maplin near you. You can also get speakon sockets and readymade combined sockets and plates from CPC and BlueAran. You need to decide if you want a 2 pole or 4 pole socket. 2 pole is usually for mono cabs or 4 pole for stereo or biamping. Helps to remember that 4 pole plugs will only fit 4 pole sockets, but 2 pole sockets will fit 2 pole or 4 pole plugs, so id fit a 4 pole socket in case you ever need to use a 4 pole lead. The cabs internal connetions need soldering to the +1 and -1 terminals on the speakon socket, usualy white or hot to +1 and black or ground to -1.[/quote] Cheers for that, Sparticus. Just one more thing, the 4.5 has the 5" speaker in it, so obviously there'll be a crossover in there, so I'll need the 4 pole, right?

I hope to be getting a nice new Genz Benz amp soon, and since I don't have the cash for a new cab as well I was wondering how easy it would be to convert the jack input on my Hartke 4.5xl to Speakon, as I've heard it much improves the performance of the amp/cab. Any ideas/diagrams?

[quote name='Musicman20' post='535881' date='Jul 8 2009, 05:48 PM']Hey everyone! Thanks for the input; I appreciate everyone’s views on the whole lightweight scenario. I discussed the Schroeder 1212L at length with a few guys on here, and it seems awesome. Especially for its size. The price tag isn’t too bad. My concern is that recently the Schroe stuff has taken a bashing. A few guys have told me to be careful, and have complained that the cabs were not squared off (thus didn’t sit flat correctly!). This is something that I could really do without; I’m quite picky with things like that, so I’d never be happy with it. I don’t mind the mid-hump to be fair, I think I’d grow to dig it quite a lot. Also, something about cheap inputs for the speaker inputs?! I exchanged some PM’s with Simon about the Berg AE410 some weeks back, and I’ve discussed the HS410 with Geoff a fair bit. Both cabs seem awesome and compact. But….I’m still not left with a really compact and/or modular rig. I know most cabs cannot keep up with the Berg 4 ohm 4x10 whump….Im prepared to accept that. What I really want is a pretty loud, small, well constructed and light cab. What I really need is to see the Berg 4x10s next to a normal sized 4x10! Then it would make up my mind. I think I might check out Finbar’s band this weekend in Grimsby….he has two Schro 1212L’s! I will have a listen, see what they sound like, get his opinion etc etc. I then have options of possible going down the Tecamp S212 route. They are smallish and VERY light cabs. They look very well constructed, and the price isn’t too excessive. I almost talked myself into getting more Aguilar gear. 2 x DB112….but…I have a lot of Aguilar stuff already. They are very well priced. The Bergantino cabs have always been something I have wanted. For a long time! I have decided the NV series is too much for me. I already have big cabs…and I am happy with them. I would like a Berg to either be modular, or be small/small-medium and be a one cab solution.[/quote] Buy a Berg and be done with it. I want one as well. Berg Berg Berg Berg!

[quote name='BigRedX' post='534691' date='Jul 7 2009, 02:15 PM']I'm no longer convinced by on-board pre-amps of the traditional cut/boost variety because they don't do anything that the controls on your amp ought to do better. The only reason IMO to fit one would be: 1. You like to fiddle with the tone as you're playing 2. You prefer volume/balance as opposed to volume/volume on a 2 pick up bass. I've still not come across a decent passive balance control that sounds as smooth as a good active. 3. The pre-amp offers individual tone shaping for each pick up. What advantages are you hoping to get out of fitting a pre-amp to your bass?[/quote] I've priced up the bits for a passive control plate, should be about 50 quid using Fender parts, and I think that is gonna be my next move. The only problem is my side mounted jack. If I decide to stay passive I might have to put a dummy pot in.

[quote name='Platypus' post='496422' date='May 23 2009, 11:35 PM']I spent A good chunk of Sunday afternoon at the Bass Merchant playing the LG5 jazz and also the P bass 5 string model. I luv 'em. Bass Guitar Magazine have had the LG5 for review and that should be in the the next edition.[/quote] Call me Mr Picky but I don't like the scratch plate with no control plate combo. I think it looks half finished. And the headstock is awful.

[quote name='skelf' post='534672' date='Jul 7 2009, 01:55 PM']It is like all these pre-amps mentioned above nobody likes them all. Some people love the filter pre-amps some don't get on with them which is only to be expected. I would be the first to tell you that it will not suit everyone. The 01 version the DCB has is a bit more complicated to use live than the 02 version but the 01 is not any harder to use than a 4 band standard EQ and some 3 band EQ's it is just that most players know how the cut/boost type work and have used them at some point. I find 4 band EQ's very hard work. I have used filter pre-amps for years having previously used Wal's for a long time so I find them easy to get on with but from a back ground of the normal EQ I can see why they cause some problems when you first encounter them. Peter is also right a bit of understand about how it works does help the process along a bit.[/quote] Yeah, I've done a bit of investigation on all the above pre's and heard good and bad about all of them. It all comes down to personal preference in the end, which doesn't make any of them a bad product. The only real way to find out is to try them out for yourself. There is even a chance that I may just go passive and do away with a preamp altogether, and just let the wood and pickups do the work.

[quote name='JPJ' post='534299' date='Jul 6 2009, 11:34 PM']I'm near Newcastle and have two J-Retro equipped basses (Fender DLX V and Overwater) and a home built P 5 string with Johns BTB and Mid-Stack (ie the tone engine from the J-Retro without the passive/active and the blend / pup switch). If you want to call in and try mine, your welcome![/quote] PM'd

[quote name='skelf' post='534302' date='Jul 6 2009, 11:37 PM']I think John still has both in a box so you can switch between them. There is a bit of a learning curve with the filter pre-amp if you are used to using a standard cut/boost type EQ. Should not take you to long to get used to it if you spend some time just using it. Cheers Alan[/quote] Hi Alan Yeah, I think the problem is probably with me and my inability get used to a different way of operating, rather than the preamp. Part of my problem is that I don't have an amp at home that I can get used to it on, so I can't transfer what I learned about it at home to a gig situation. That said, I played at a function at the weekend, just playing swingy standards etc and immediately got a lovely big round tone. I remember thinking "well f**k me, there's nothing wrong with that!" It is a quality sounding bit of kit, the bottom end it creates is immense. I would be daft not to give it a bit more time, although I will try other stuff out just to see how they compare. The J-Retro, Sadowsky and Audere (if I can find anyone who's got one fitted to their Jazz) are the ones I'd like to try. They might prove to me that the old adage of not being able to teach an old dog is true, or they might just show me how good my own preamp is! Cheers.

[quote name='ped' post='534279' date='Jul 6 2009, 11:15 PM']If you call up Mr. East you could try his outboard Jretro (possibly he has the ACG too) with your very own bass. He is based near Oxford just on the M40.[/quote] By the way, not wanting to bugger my own thread up, but I know you like your Vigiers, how much do you think my '86 "Relic-ed" Passion would be worth?

[quote name='ped' post='534279' date='Jul 6 2009, 11:15 PM']If you call up Mr. East you could try his outboard Jretro (possibly he has the ACG too) with your very own bass. He is based near Oxford just on the M40.[/quote] Yeah, could be worth a call. Oxford is only an hour and a half or so away from me. Cheers.

[quote name='bh2' post='534226' date='Jul 6 2009, 10:28 PM']Yes... the AGC is the J-Retro but different. They're both by Mr East. I'd go for sound over simplicity and in my experience the J-Retro is just AWESOME! I really can't praise it up enough. It's made such a difference to my sound and the way I play (for the better, obviously). I've not tried any of the others and don't feel I need to now.[/quote] Anyone got a J-Retro or a Sadowsky with VTC fitted to their Jazz, that I could try out? I'm in South Yorkshire, but will travel. I'm usually gigging in or around Newcastle on weekends. Would bring my Warmoth with ACG (as pictured in the Gear Porn section), so you could give that a try to see how you get on with a filter pre.

[quote name='bh2' post='534207' date='Jul 6 2009, 10:02 PM']I fitted a J-Retro in my Jazz... it's awesome, especially low end. Turned it into a pure bass machine. Controls are complicated (compared to original setup!) but it's just fantastic! It's very powerful though and there is a significant vol increase on switch-on, I've busted a couple of speakers in my Ashdown with it. It's also very well made. Can't comment on the Audere although a friend of mine has one and he couldn't get on with it at all. It's fretless and just perfect for Drum&Bass![/quote] Nice looking bass! I was going to go for the J-Retro, then changed my mind at the last minute and got the ACG02, which like I say, is a serious bit of kit, but I think what I may be looking for is basically a good passive tone with the optiion of a bit "more".

Bit of a subjective one, this one. There are a lot of them out there, but which is the best active onboard preamp which can be installed into a Fender Jazz, and why? Would love to hear the opinions of anyone who has a Sadowsky VTC, an Audere, an Aguilar, a Nordstrand, ACG (which I have), J-Retro or anything else that will fit into the cavity under the control plate. Has anyone swapped one for another? Which are the simplest to use and which are not so? Are 2 bands enough? Which are the most "musical" and which cover more frequencies than a dog could hear? Has anyone given up and gone passive?? Have to say for my part that the ACG, as much as it is undoubtedly a serious piece of high quality kit, it still hasn't totally won me over yet. That is probably because I'm used to yer boost/cut jobbies. Although there have been a few gigs where it's brought a big old smile to my face. Of the list above, the Sadowsky and the Audere (or one of the Auderes) are the 2 that appeal mto me the most.

[quote name='Beedster' post='532654' date='Jul 4 2009, 09:49 PM']Cheers Steve Looks like the temporary (altough potentially permanent) solution is the Warmoth body (rear routed for a pre-amp whilst allowing a traditional control plate), and Sadowsky pre & VTC/Nordstrands I've just bought from Higgie. I'm hoping that my '73 neck will go on this combination, then I can A-B this against the same neck on the '73 Fender body/J-Retro I'm currently playing and see which works best. If the fomer I think I'll eventualy go the NYC custom fretless route C[/quote] Higgie, how could you!? Would love to see pictures when you get it done and hear your thoughts on the VTC. I've got an ACG on my Warmoth and the jury is still out, to be honest. Sorely temted by the VTC, although my body isn't rear routed. Is there enough room under the control plate to fit one?

[quote name='Thunderthumbs' post='138612' date='Feb 12 2008, 01:55 AM']Had something similar to that many years ago. Me & my old band mates travelled down from Manchester to Ilford to buy a mixing desk from a guy in a bedsit. Then to go with it, we then travelled round to Surrey to buy a 50 metre roll of multicore. We were a bit similar.....starting noticing the houses getting bigger and bigger. Stopped outside his place, and knocked on this massive oak front door. A young girl opened it and led us in, and pointed us in the direction of the room her dad was in. When we opened the door, it was the door to a huge recording studio he had built in his house. Two 7 piece kits set up, a complete set of kettle drums, lots of saxes hanging all over the place as well as a myriad of other instruments. We spent about an hour there with him chatting away. When we left, the drummer asked our keyboard player what his name was. He said "Jon something......a bit foreign sounding". Our drummer then realised we'd been at the house of Jon Heisman (seen [url="http://www.youtube.com/watch?v=WtjDigJ_QQI"]here[/url] playing in "Colosseum II" with Gary Moore and Don Airey). Others may know him from "Barbara Thompson's Paraphernalia" (I think she was his wife - which would explain the saxes everywhere). Nice house by the way. [/quote] I know it's a bit pointless replying to a year and a half old post but, if anyones interested I've got a very funny story regarding Jon Heisman and Barbara Thompson that was told to me by a muso a few years ago. I'd have to e-mail it, though, as it's fairly, er, sensitive. very funny though!

[quote name='Kongo' post='492876' date='May 20 2009, 12:52 AM']It's great when your rig works how you want it and you just scream "MY GOD!!! That's the tone I've always dreamed of"...then next week it's gone either due to a different room or another variable. I hope your tone stays true.[/quote] That's such a good point. I had a personal "MY GOD...!!" moment last week, and my rig is nothing to write home about, 200 quids worth of second hand Hartke, but I was so happy I thought to myself "why would I ever consider spending big money on anything else when this rig can sound this good?" (It's amazing how a great sound also changes the way you play, makes you do stuff you haven't gone for before..). Then the next night it was gone! And the flipside is, you know if you do spend big bucks on a mega rig there are gonna be plenty of occasions when it doesn't do it for you due to the acoustics of the stage/room. Having said that, I still want a Berg!

[quote name='51m0n' post='492675' date='May 19 2009, 08:50 PM']This si what I'm talking about:-[/quote] Woah! It looks pretty good too! Gotta get me a Berg!

[quote name='Crazykiwi' post='476768' date='May 1 2009, 10:21 AM']I've made references to it in some of my posts recently but for any of you who weren't aware, I'm emigrating to NZ in a few weeks. The reasons are 100% economic and to fall back on the support of family while I get my career in urban regeneration back on a stable footing. After being made redundant three times because of a lack of projects, it seems to me that even if I do snag another job in the UK, there's nothing preventing the same thing from happening a fourth time. I also needed to make the decision to emigrate while I could still afford it. I really don't want to leave the UK but well placed contacts I have in the property development sector are also telling me there's going to be a load more pain to go through in the commercial property market yet before things get better. So it looks like more people in my profession are going to be made redundant as cash and credit reserves are exhausted by developers and commissions continue to dry up. (Just so I don't appear to be a purveyor of doom and gloom, I think other sectors like service industries and manufacturing are going to pick up sooner because they're less reliant on credit). But the short story is that I'm probably looking at years rather than months before things get better. So what this means is [u]I'll still be on Basschat[/u] but I'll be 12 hours ahead of the UK. It also means I won't be able to respond quickly to PM's or situations if they occur during the middle of the day (while NZ is asleep) and obviously I won't be able to physically attend any more Bassbashes unless I happen to be in the UK on holiday or something when one is on. Maybe when the banks lose some of their arrogance and recognise first time buyers as a valuable market once again, then things will look a load more positive for everyone. Anyways, just wanted to let you all know about that just in case any of you need a quick response on anything at some point in the future.[/quote] All the best. Hope it all works out for yer. And when you get there, ask around to see if they need any gas/central heating engineers/plumbers. I'd move in a flash. Gotta be better than this overpriced, cold, wet, crime addled s***t hole.

[quote name='Wooks' post='476806' date='May 1 2009, 10:55 AM']All the best with the move mate. I'm getting stressed about having to move 3 miles down the road on tuesday, so can't imagine how you're feeling with a move half way round the world I hope it all works out for you and that your new life prooves to be a great success.[/quote] Given the choice of moving 3 miles down the road or to NZ, I know what my choice would be! And that's not just cos I live in Barnsley (although that's got a lot to do with it! Sorry Barnsley).

[quote name='spiltmilk_2000' post='382189' date='Jan 16 2009, 12:51 PM']OK, so with all the discussion of modes, it's got me thinking about minor scales and their relative modes and i realised I'm unclear how these work! In the major scale i understand that by harmonising the notes of the major scale you end up with the following pattern (example in key of C): Cmaj7, Dm, Em, F, G7, Am, Bhalfdim, C I know each of the modes that relate to each interval of the scale but how does it work in a minor key? What pattern of major / minor chords does it create and what extensions are there for each (ie. maj/minor 6ths or 7ths etc) How is it affected if we harmonise the melodic or harmonic minor scales instead of the natural minor?? I have a feeling responses are going to be pretty complicated! Any help, in idiot proof terms where possible, greatly appreciated! [/quote] Check out John Scofield lesson on You Tube for all you'll ever need to know about using modes!

[quote name='Asgath' post='350873' date='Dec 10 2008, 04:34 PM']Thats simply an effort in teaching you good technique. I'm currently being taught by Neil Harland, I can vouch for him. Ian Paterson is also a very good teacher if you can find him.[/quote] +1 for Neil Harland. He's the best bass player in Newcastle. Probably has been since he was 14! Absolute salt of the earth to boot. And I'm not just saying that cos he's my mate!

[quote name='lowdown' post='469598' date='Apr 22 2009, 01:53 PM']'Things that musicians do that are a waste of time!, We all do it but we shouldn't....' Endless hours of posting on Forums?.... Garry[/quote] Ha! Good point, well made!

[quote name='bilbo230763' post='467447' date='Apr 20 2009, 01:50 PM']I was reading the thread from the guy that wants to learn Bakithi Kumalo's line on 'You Can Call Me Al' and noted a few people said it was something they had learned/wanted to learn. Having a perverse sense of perspective, my immediate thought was 'why'? We all do it. There is a list of bass lines that seem to be essential learning for bass players; 'Hit Me With Your Rhythm Stick', 'Teen Town', 'Amazing Grace' by Wooten, that thing by Stu Hamm - you know the stuff I am talking about. It's all over YouTube. So we all go learn it and what? We only ever play it to impress people who aren't musicians (if it looks harder than it is) or to impress other musicians (if it is harder than it looks). We waste hours of study time learning a chunk of Stanley Clarke, or a wodge of Les Claypool, a modicum of Mark King or a pinch of Jaco or Flea. We should be studying music not musicians licks. These are just party tricks not core skills. I think its probably fair to say that the kids that don't do these things and focus on the core knowledge are probably going to be better that those that can execute the party pieces but can't really play music. For the record, I haven't learned Kumalo's line but did do Teen Town, Berlin's 'Bach' solo, 5G, Motherlode etc and a couple of bits of Stu Hamm! I am as bad as anytime in this area of wastage but urge developing players not to waste time on juggling and 'play the damn music' Listen to the grooves and don't worry about the fills; they're not important! Jeff Berlin is my guru - just don't make me listen to him playing! [/quote] I learnt a Birelli Legrene tune called "Timothee" 20 years ago, lovely tune with a great solo played by Birelli himself (now, he's just got too much talent!) and 20 years later I just can't stop playing it whenever I pick my bass up. I've recently tried to rectify this problem, and how? By learning (or trying to learn) some Marcus Miller (Scoop) and Anthony Jackson (Night Moods from "Whatcha Gonna Do For Me") tunes! Will I never learn!!??

[quote name='GremlinAndy' post='130362' date='Jan 30 2008, 12:18 AM']I'm just going to say a few words here guys. Because this is info some of you may have been keeping quiet. [i][b]"If you can possibly try an Aggie DB680, then you should."[/b][/i] I bought one fairly recently, and it was like an epiphany! I have always prided myself on having a good sound. But after hearing my sound through this pre I realised that I've been missing my best possible sound by quite a margin. Now it's not like I don't have experience of other pre's... I currently own: A Bass pod Pro XT, an Alembic F1-X, A Hughes and Kettner "Fortress", Trace Elliot MP11, GP12, GP11 MK5, Sans Amp, and a couple of other not worth mentioning. Plus A lexicon MPX G2 which has a great pre in it's own right. Some have a tube upfront, some are just SS, but NONE of them have the sweet tones of the 680. You might, like me, have read some reviews, and while people rave about the 680, it's true to say that the owners of many other pre's rave about thiers too. Well I would have to say, PLEASE try this out for yourself and make a call yourself, if you can possibly get access. The Aggie makes your sound more tonally pleasing than ever before, it makes the high notes more balanced with the lows, (bye bye reedy thin highs, hello fat fullsome singing highs.) Yet the lows ring with a bell like quality ...and "sympathetic frequencies" (I'm searching for the correct phrase here, forgive me), previously unheard, come to the fore and add to the richness of the sound... It's a MARKED difference. You'll even find that the drummer notices (sorry drummers that was a cheap shot. But *actually* true) that the bass guitar is more pronounced, but not overpowering. If anything it sits in the mix much easier. The difference is very musical. I've had mine for a while now, but I've resisted actually raving about it, because I wanted to get me a second one before I potentially increased the competition on them. However I ordered my *spare* one today and it's on it's way. A mark of how impressed I am with this pre is the very fact that I *NEEDED* to secure a second one in case my first one ever fails. And with a retail of nearly £1000 that's not an easy call. ...but that does maybe tell you just how good this thing is. [b]Pro's: [/b]the best sound bar none! Nuff' said! [b]Cons: [/b]If you want a dirty filthy overdriven sound, then I have to warn you... Thats the only sound the 680 can't accomplish (actually, hardly at all) You should look elsewhere for that particular sound. And the price... The 680 cost me double my second most expensive pre, but honestly, it's worth every penny if you can afford it. Andy[/quote] You ordered your "spare"? Now that's just showing off! And you'll have to pardon my ignorance, but you "ordered" your spare?? I thought they were discontinued....?