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SisterAbdullahX

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  1. SisterAbdullahX
    [quote name='6stringbassist' post='111546' date='Dec 31 2007, 04:34 PM']This is as new, and in totally mint condition. I've only had it a few weeks, but I'm getting a Kern preamp quite shortly, and I already have an Alembic pre in my rack, I also tend to just use my Lexicon MPX through my power amp quite a lot. It's a very modern sounding pre, with a very versatile EQ section. You can pretty much get any sound from it, from 'old school' tubiness to clear and shimmery. I'm also in the process of putting together a small studio set up, so this'll help towards that. You'd be most welcome to come and try it. If you want any more details just ask. £525 or very nearest offer, this is only a few weeks old afterall. This is off the Demeter website - The H Series Bass Preamp by James Demeter uses the same all tube front end found in his classic VTBP-201 Bass pre-amplifier and combines it with the revolutionary H Series circuitry found in his professional audio H Series line. This preamp provides the best of both the tube and solid state world. It features high voltage (250V) tube front end (providing all of the preamp gain and passive tone controls), a two band solid state fully Parametric Equalizer that is tuned for, bass, a fully adjustable active effects loop with controls up front, a tuner output, a full balanced output with switchable mic or line level, both a balanced TRS line level output and an unbalanced line level output for amplifier connections and a mute switch. As with all Demeter equipment it is meticulously hand wired, using the finest components and assembled in the U.S.A. Specifications Input impedance > 1 megohm Minimum load impedance 600 ohms Maximum output + 24dBV @ 600 ohms + 28dB Gain Adjustable to + 10dB Mid 440Hz to 4KHz EQ Gain + or - 15dB Signal to Noise Ratio - 80dB THD .5% Frequency response 10Hz to 40kHz Tube 1-12AX7a Selected Parametric EQ Q or Width Continuously Variable Low 40Hz to 440Hz Mid 440Hz to 4.4KHz Inputs 1/4" (passive and active) Outputs 3 Pin Bal Mic/Line, TT, XLR & 1/4" Chassis Single Space Rack Operating voltage 115V/230V AC Switchable Power Supply 250V Fully Regulated Filament 12.6V Fully Regulated[/quote] Do me a favour, when you get the Kern let me know what you think of it, how it compares to the Demeter, and how much you paid for it. I've heard they're awesome. Cheers.
  2. SisterAbdullahX
    Anyone tried any of Dave Hall's amps or pedals? Particularly interested in the VT5-400 or 700 amp, or the VT5 pre-amp.
  3. SisterAbdullahX
    [quote name='warwickhunt' post='110177' date='Dec 28 2007, 12:31 PM']Sorry when I said the tone was flat I meant that I left everything in the 12:00 (straight) up position. If, as has been pointed out, that the controls all set to the mid position 'isn't' true flat then I was quite happy with that (non) flat setting anyway No problems with the EQ or the comp and I found that the unit lacked something if you didn't use the BBE process (possibly as it would have been designed around the user buying/using it for that reason). If the noise (again I stress that I am picky) can be reduced or eliminated then I personally think that for the price it's a decent unit and worth trying.[/quote] Cheers
  4. SisterAbdullahX
    [quote name='jwbassman' post='110175' date='Dec 28 2007, 12:24 PM']Hi there I currently use one of these in my gigging rig (I've also got a Demeter in my studio rack, more about that later)... I'm very happy with it - I'd agree that the controls do take a little getting use to but nothing a bit of trial and error can't solve. I find the compressor useful in certain situations but don't use it all the time, the sonic maximiser sounds really good to my ears but I guess this will depend on your eq settings. I've had a number of excellent comments from the guys in the band since introducing this into my rig so I'm happy I did the right thing. Dave (OBBM) did a mod on mine to reduce the input gain as it was distorting unintentionally when I was using my active bass - this is a kown problem and easily solved (if you know what your doing, thanks Dave), I'm sure he will happily answer any question you have, I believe he used to use one of these too. Oh and another thing, change the valve in it, the stock ones are ok but Dave also suggsted a Philip 5157 (lower gain valve to help with the initial problem) which made it sound really really warm, I've since put a Mullard in it as according to those in the know these are the daddy of all valves. Following some direct comparisons I can safely say the sound is so much better that the stock valve. As I said previously I'm very happy with mine and would probably replace it if anything happened to it. A quick word on the Demeter, IMO it's generally brighter than the BBE - but they are two different animals, I really like the Presence option on the Demeter (it has 2 valves) and the controls mean you can get pretty much any sound you want from it. I've contemplated using it in my gig rig rather than the BBE but to me it just somehow seems more at home in the studio. Hope this helps, feel free to drop me a PM to discuss some more...[/quote]Thanks for the help.
  5. SisterAbdullahX
    [quote name='6stringbassist' post='110038' date='Dec 27 2007, 09:01 PM']Yeah, mine was a bit hissy as well. I really, personally anyway, couldn't find a use for the BBE process, it just made the sound 'boomy', and somewhat artificial. Flat on them is 10-2-10 from bass to treble, or thereabouts anyway, they're a bit like the Alembic, bass and treble are mostly cut only, and mids are mostly boost only, I found it very hard to get a nice 'scooped' sound. If you check on talkbass, I found a good thread which showed peoples settings.[/quote] Thanks again.
  6. SisterAbdullahX
    [quote name='timmyo' post='61739' date='Sep 17 2007, 03:02 PM']This came up a couple of times when I asked about what people would do differently as a beginner. So what IS 'proper' right hand technique ? Simply using alternate fingers, or is there more too it than that ?[/quote] There is no such thing as "proper" technique, for either hand. As soon as you try to do what one person tells you you start to beat yourself up for the smallest deviation, and this can only be bad. Even if Jeff Berlin himself tells you you must always mute the unplucked strings with your thumb and you've found a more comfortable way, tell him to mind his own business and stick to your own way.
  7. SisterAbdullahX
    [quote name='bilbo230763' post='97991' date='Dec 3 2007, 10:50 AM']I love the idea of going to college to study jazz on electric bass. I would have loved to do it twenty years ago and I would love to do it now. All that playing, practising and studying all day every day. Brilliant! Only I can't help but notice that some of the people I have taught/played with who have gone on to do this (Royal College/Leeds etc) are now gigging on the same scenes as me, playing the same venues for the same money and doing no more gigs than I am. Not sure what the point of it all was? Not sure what point I am making. Not sure whether this thing half way up my arm is my a**e or my elbow.[/quote] Yeah, and the thing about these establishments that hasn't been discussed so far is the fact that actual bass study will only take up something like 15-20% of the syllabus. I did 2 years of a 3 year degree course at Newcastle College back in the 90's, and at that point Newcastle had a bit of a name for itself for producing talent, but we had to study jazz history, and lets face it, if you need to study that you don't deserve to be there, and even worse, bloody calligraphy! Arghhh!! This is because, despite the fact they call them "Jazz" Degrees, what they actually try to do is try to cover as many bases (no pun intended) as possible in order to make you as employable as possible after graduation . In other words, you might be thinking you're going in there specifically to study jazz bass, but while you're there they want you to consider the possibilty you might not work out to be the next Matthew Garrison and look to a career in teaching, or function bands or cruise ships whatever (not to say there is anything wrong with any of those), but just don't expect it to be 100% hands on improvisational and supportive study. Tie this in with the rediculous expense (£20,000 or so all in) and it all starts to look like not such a great proposition after all. Of course, there is the possibility that the course at Newcastle College was crap.....
  8. SisterAbdullahX
    [quote name='warwickhunt' post='110012' date='Dec 27 2007, 08:00 PM']I had the Bmax-T for a short while! I had no problem with the inherent flat tone and there was plenty scope to alter it BUT I'm mega picky when it comes to extraneous noise and the BBE has just a degree of hiss that was irritating... to me. I do have to stress that I have very high expectations and can't abide any noise (other than the racket I make). I've heard loads of peoples rigs and they seem to think a background hum is acceptable, not me. Just my observation but something to consider. I should stress that the noise didn't get any louder when you turned up the wick and it wasn't detectable at gigging volume but I just knew it was there! The guy who bought it from me was over the moon and didn't even mention the 'noise'.[/quote] Thanks for that. Other than the noise were you happy with it? You say the tone was inherintly flat? Did you experience any problems with the eq and comp, and was the BBE process feature of any use? Removing the noise from the equation would you recommend buying one?
  9. SisterAbdullahX
    [quote name='6stringbassist' post='109834' date='Dec 27 2007, 12:26 PM']I had the solid state version for a while, they're well made but the EQ is very weird, all of the controls interact with one another. I wasn't too keen on the compressor either. I just bought a Demeter which is fantastic.[/quote] Thank you for that my friend.
  10. SisterAbdullahX
    Anyone out there got a BBE Bmax-T? Would like to hear some thoughts....
  11. SisterAbdullahX
    Anyone out there have an SWR Henry the 8x8? Heard good reports about there punchiness/volume. Would love to hear a few opinions. Is the horn any good or is it the usual "granny knitting a jumper" clickiness that seems to plague so many bass cabs these days? Reliable? Anyone know of any used ones for sale?
  12. SisterAbdullahX
    [quote name='jwbassman' post='69481' date='Oct 4 2007, 11:57 AM']Talking of mini rigs - i've just put together my first... Preamp - BBE Bmax T (modded and with 5751 valve - thanks Dave) Power amp - Alesis RA300 (at the moment - subject to change) Epifani UL112 - (Bought from kjb - thanks Kevin) Sounds great to me and an easy lift - the cab is so light and the 3U shallow rack is very manageable *mental note to self must post some pictures Until now I've used a variety of combos - carlsbro, peavy, trace (with 2x10 extension). EA iAmp200 and sound wise this little set up is a good if not better than all of them. The EA was easily the most portable but not by much. Mini rigs.. they're the future [/quote] Interested in the BBE Bmax T and would love to hear your honest opinion of it. Do you use the BBE process? Good comp and eq? Quiet? Good aftersales? Should I buy one!!??
  13. SisterAbdullahX
    [quote name='jwbassman' post='90168' date='Nov 18 2007, 10:45 AM']+1 on a great resource... I recently changed my gigging set up to include a valve pre and went for a BBE Bmax T. Using an active bass I was getting an unwanted distortion so I sent the unit to OBBM who very kindly modded it to reduce the input gain (removed some components, replaced a couple of others) and also sugggested I try a JAN 5751 valve in there - the stock valve (GTECC83) was quiet harsh to my ears - and what a difference the lower gain valve made, so much smoother and warmer and souned great. I've also just 'invested' in a Demeter VTP201S for my studio rack and was contemplating which valves I should use in that - I'm obviously keen to try a couple of Mullards to see what all the fuss is about but would be happy to use the JAN 5751's again. I'm also interested by the lower gain Mullard the ECC81 - guess it's all a bit of trial and error, until you find something that works for you - but this thread has given me a great heads up so many thanks... [/quote] I'm interested in the Bmax T myself. How are you getting on with yours? You spoke about the distortion problem. Did BBE do the mod for free and what were they like to deal with? Do you find the BBE process makes a difference to your sound? Is the eq and compressor any good? (Heard that the comp is great). What amp and cab combination do you use? Basically, should I buy one!?
  14. SisterAbdullahX
    [quote name='ped' post='106006' date='Dec 18 2007, 04:02 PM']Probably this one for lots of reasons - been through a fair bit with this one, it has seen off basses from all corners of the globe and I don't think I have owned another bass for as long as this one! I have been playing its 5 string sister almost exclusively since I got it though - I think the 5 string is more 'me' at the moment, it is probably even better to play and is a 'better' example of the breed, but there is an undeniable beauty about this scarred and beaten slab which I know the sound of inside out, live and in the studio. It is the bass equivalent of sleeping in your own bed. Realistically though I would probably be consumed in the fire as I frantically try to save the other two and my amp - and of course my staffie! Doubt she would help me out though, always looking after #1 she is!![/quote] You like your Vigiers, and I'm glad to see it! There doesn't seem to be many of us about. I own a see through red 1983 or 84 Passion (full carbon graphite neck), serial number 213, which was my main bass for 15 years. The neck is just the best I've had my hands on. It was bought on a friends recommendation after my then #1, an ESP Jazz, was stolen. I absolutely love it and would never consider selling it. The only reason it ain't my #1 now is because the finish has pretty much peeled off and the bridge pickup has packed up. Was told by engineers on many an occasion that it was the best recording bass they'd heard. They really are a much underrated bass. I really have to spend some money on it and return it to former glories. So good on yer for having such good taste!
  15. SisterAbdullahX
    That's a toughie, cos like most I like em all for different reasons, but would probably have to plump for my Fender Jazz Bass V Deluxe (black with maple fingerboard) cos it is just so comfortable to play, sounds great and looks so cool that I had to buy it as soon as I saw it hanging up on the shop wall, even though I was only browsing! And if not that then, though I would have to start a new thread entiltled "Which stolen bass do you miss the most?" I would have to say my all time true love was an ESP Jazz with EMG's on it, stolen from a club in Blackpool about 13 years ago. Still upsets me when I see photos and hope the bastard who knicked it either appreciates what he got or has contracted cancer by now. Scum.
  16. SisterAbdullahX
    [quote name='birdy' post='105682' date='Dec 18 2007, 01:04 AM']The topic on how many basses do we own collectively and seeing some people with a lot got me thinking as to if you had to choose ONE only to keep out of your current crop which would it be and why? Imagine all your basses are in your house/flat and a fire is ravaging through it. All humans and pets are safe and as you escape yourself you can save any ONE of your basses. Which would it be and why? Would you save the most valuable, a sentimental one perhaps? I'll start - I would without doubt save my Sadowsky Metro. I have two other more expensive basses but the Sadowsky gets the job done all the time whether recording or gigging with no hassle and is a joy to play. Steve[/quote]
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