BassBod

[quote name='Mr. Foxen' post='610376' date='Sep 27 2009, 09:59 PM']Is that one visible in your avatar?[/quote] Yes, thats one - on the side of the fingerboard up to the octave (fret positions 3 5 7 etc), then on the face for the thumb position, between D & G strings . Not that I ever go up there, but it seemed like a good idea when I ordered the bass. I played a Steinberger WAV last week - its got dots everywhere, but they are all on the face, even in the lower positions. I found it pretty disctracting.

I'd recommend small stick on dots for starters - just four plus the octave, on the side. See how you get on, take them off after a few weeks and see if you still need them? I've got small discreet plastic dots on my EUB but I could probably do without them. What are you looking at getting?

Oh yes, always the foyer for me...must remember to look for the rift while I'm there.

I might get to this one - playing at the (not in Cardiff, really) Millenium centre lunchtime. Will probably have Clifton bass(es?)or could bring Alembic Epic fretless??

Here's some historical info on the F2B...and some circuit info for those who can read such things. Makes no sense to me [attachment=33393:F2B_manual.pdf] BB

I can't remember which version I tried, but briefly I did play through one several yeas ago. Best I could describe was a cross between the SWR Grand Prix (super clean and a bit "too honest") and the alembic (big warm and lovely..but still sounds like what you plug into it, but a bit better). Sorry if that isn't much help, but it was a long time ago.

There is a full circuit plan of the F2B inside the lid...there really isn't much inside the box besides a small transformer, two valves and some big caps.

Mr Foxen was right - I've got an old one and I'll happily sings its praises till your eyes glaze over. But it isn't for everyone - the "fender" tone stack does take time to use well. Mines got 5751's in it so its as clean as a clean thing. Makes everything sound yummy. Sorry if that's a bit technical. I got mine pretty cheap (it looks like its had a good kicking) just because it was two channel and I was doubling a lot on EUB/BG. Then I realised how good it was and asked Alembic for a new transformer - they ignored me for a year or two, then sent one for about £40 with wiring plans from Ron Wickersham. Not bad for a bit of gear that's probably 30 years old. The bright switches are hopelessly bright (designed before tweeters in cabs). No effects loop or DI, but run it into a half good passive DI and its luuvveeerrly. I'll shut up now BB

Here's my current Thumb [attachment=33112:DSCN1310.JPG][attachment=33113:DSCN1309.JPG] Lovely bass...but still not sure about the MEC stuff?

There's a few of us here in brisssle, or therrrbouts...welcome along. Has anyone warned you about the For Sale section yet? One day we'll actually organise a B'tol get together! BB

Doubt if I could get to either..but I'd love to. Only seen him once, and it was a noisy music show. Would be great to see him in a small venue - highly recommended.

For a jazz I'd suggest the Sadowsky (old or new style) or the Aguilar DB924 (OPB1 in a box). Both very similar, but add a great active boom/sheen to a passive fender, without carving holes for batteries and extra pots. I guess the tone hammer is the same, but I haven't heard one yet.

Sorry if I was being a bit vague about the dangle - yes, its mostly about the top horn being very short..but my thoughts were they could've moved the whole "scale length" an inch further south..if the battery box was put somewhere else.

A friend of mine has a Thunder 3 - very good bass, but there is one issue that I've noticed. Because the battery box sits at the back of the bass the bridge is positioned slightly more to the neck than normal, which makes it feel a bit top heavy/out of balance? its not a heavy bass so its not a big problem, but if you're used to a fender its a bit odd. I wouldn't pay more than £200 for a nice one...look out for worn fingerboards on the fretless models.

I left the MU a few years - I thought they withdrew the instrument insurance member's benefit (but retained the PL)? Anyway, I'm insured with broker Vic Knight - they used to be recommended when the MU covered the first part of a claim. I've no idea how good they are, as I've never had to claim but they've always been very professional and helpful when I've spoken to them.

Compact handed over to Mr Foxen in deepest Bristol last night...anyone else interested in the Bristol area get in touch with him quickly before he "melts it" his words, not mine! It might be too late already, of course. BB

Ummm...what it came with? I really don't know what they are. At a guess they are the bottom four of a heavy-ish guitar set, but the "low B" is bigger than a normal guitar string. Next time I talk to Mo I'll ask him - chances are he has them made by Picato.

Ummm yes, I think is the answer! But there are other options out there. If you get one try putting it into the effects loop return, its got enough level to drive the power amp directly - that usually sounds better?

Ummm yes, I think is the answer! But there are other options out there. If you get one try putting it into the effects loop return, its got enough level to drive the power amp directly - that usually sounds better?

They've all got their own sound..but here's my experiences Sansamp bass driver (original version) used it for years, normally to make clean amps sound a bit warmer or dirty. Fantastic box, but ignore the suggestd presets, I find I use only a 50/50 mix of effect / dry even for the roughest sounds. Also a good flat DI that happily runs on phantom power. Aguilar DB924 - same as the original (non DI) Sadowsky box - a "Musicman style" boost only eq in a tough metal case. Doesn't add any distortion, but makes a good Jbass sound like a great Jbass. Also doesn't really add any gain, so you have to run the vol up full to hear it properly (bit unusual for a pedal). Works well with all passive basses, but not really needed for anything already active. Sansamp VT pedal - a more refined version of the bass driver idea, but allegedly doing an Ampeg emulation of the SVT or B15. Who knows how close it is? I've never heard any of the big Ampegs I've used, due to crap stage sound and good ear plugs...and I've only used a "portaflex" for about two hours in my whole life..don't even know if it was a "good one". That said, I think its a great pedal - good range of distortions and nice eq. I'm using the B15 settings for everything at the moment and I just forget its there. Nice. Hasn't got a DI..but just run it into one? Hope that helps BB

When I got the EA 500 I realized that my bits bag (cables, music stand and real book) was heavier than my amp. When I got the Clarus..just the leads weigh more. I like. So who's gonna start the lightweight cable trend (Alex?) or carbon fibre music stands...I've already seen a real book on the iphone..and it transposes for you!

Yes, I wouldn't say the Compact was Doom-worthy..on its own (heh heh..). I'm sure you have a plan? Have to sort out how/when to get it to you...

Some first impressions on the Compact that recently arrived here..on tour. My usual gigging set is - GK combo (for small/quiet or lazy gigs) EA500 head with either 1 or 2 EA CXL1x10s or single CXL1x12. I also use an Acoustic Image Clarus..more on that in a bit. Basses are Fender jazz types..Alembic Epic or Clifton EUB..sometimes a Warwick Thumb. I really like the EA cabs, although they have a bit of an unforgiving mid emphasis when heard in isolation..and are not exactly light. The 10s are something like 32lbs and the 12 is 44lbs - not really heavy..but heavier than you'd think from their size. They also have co-ax tweeters which I turn down at least half way. They are also expensive. The Compact is very light for its size and the "slim but tall" shape makes it easy to move through doors or into cars etc. I thought one handle was a mistake..but it works. You just have to lift it and it all makes sense. For a lot of my work (jazzy bands at functions or restaurants, folky "acoustic"gigs) it is too big - even carrying it into a posh hotel they'll ask you to turn down before you've plugged it in. Despite that, I took it along to a duo (guitar/bass) restaurant gig, powered by the Clarus, with a Sansamp VT pedal as insurance. With a passive/flatwound jazz bass it was a good sound with a mere tweek of the amp's (limited) eq and a fantastic sound with the VT's eq and emulation. Much bigger low end than I normally use (CXL1x10) but perfectly controlable, even in a boomy acoustic. There are plenty of mids there, and note definition was easy - even at a far lower volume than it was ever intended for. It has all of the better characteristics of a "good old" 1x15. Plenty of warm sounding lows, and a pleasing traditional voice...but much better clarity and mid range. It doesn't do snappy highs..so no Marcus Miller...but there are enough highs there to sound good (in a 70's disco way..not even MM had tweeters before 1984?). It seems to be an easy load for my amps - maybe 10-15% more volume at the same settings compared to my EA cabs (completely unscientific observation, but noticable). The Compact is a great all-rounder - a perfect pub rock cab? Maybe not if you play very loud with a 4x10 and still want more...but very good for most gigs. The light weight is fantastic and the sound is great. For me, its too big for a lot of my gigs and I have got used to tweeters, even if I turn them off most of the time. A Midget T would do the job perfectly for a lot of my work...and a sub option would cover the louder stuff. Or a Big Baby?? Thanks to Alex for his work on these cabs - its a good time to be an ageing bass player! BB

Just a quickie.....but the Clarus (III) worked splendidly with the Compact on a liitle jazzz gig....I'll report in detail in few days BB