BassBod

Thanks for the interest - I'm doing this in bits, got the kids running around. Cont.. The old BBC LS3/1 speakers were a revelation - they just sounded so natural. Not just great for their age..but really great. The high frequency output was apparently limited to 12-13khz but it didn't seem to matter. The bass seemed to come from everywhere and nowhere at the same time. Thinking about it, they had very primitive drive units, far less sophisticated materials, no modelling computer software or analysis. But they did have plenty of research time and few of the modern distractions. The only sounds they were considering were speech, piano, orchestral etc Not miked rock bass drum, distorted guitar amps or synths. The main issue for me was the size - big industrial grey boxes just don't fit in a cottage living room. Maybe in a trendy loft space flat, or a 1960's studio..but not here. They are also 15ohm and something like 25w power handling. It would be easy to kill them with any modern amp. After surviving more than 50 years that would be a real shame. Next, my Dad lent me a pair of Spendor SP2/3's he was finished with - interesting, as these were firmly in the BBC school of LS3/5A inspired designs, although a fair bit bigger in cabinet size. They are a sort of third or fourth generation descendent of the big grey boxes. [attachment=161260:IMG_0729.jpg] They are wonderful, but have a significant draw back for me. All the mid/treble detail is there, with incredible articulation and accuracy. They are very well suited to critical listening and leave nothing to the imagination. However, the lower end response is lacking. The low end is there, but muted and unexciting. Compared to the early BBC design they are a bit dull and stiff. So, after a few weeks swapping about I'm back to the modern AVI Neutrons - its been an interesting experience, I've learned a bit about how important the early work of the BBC was to the audio industry and gained an appreciation of just how good the full range speakers could be. Its also odd that the LS3/5A was consistently sold as "The BBC Monitor" to the domestic market - when the BBC intended it as a speaker for very confined spaces (broadcast unit vans and local radio control rooms). The real full range monitor concept was way too big to be sold to any but the truly dedicated! The small AVI Neutrons combine a lot of the performance of the old big speakers - full range, detailed and accurate, but also convey the enjoyment of the music. I had a look at their current range recently, and noticed they have now moved on to active only systems of powered speakers, combining DACs and power amps within the cabinets. The BBC had a powered monitor design in the 1950's using a Parmeko cabinet (big grey box) with a shelf for a small valve amp. Nothing's ever that new..... [attachment=161323:200910122243432313.jpg]

I've always tried to avoid being a HiFi obsessive, as being a musician is really not lucrative enough to support that sort of habit. Overtime I have also come to appreciate that everything has its influence on the sound you hear, so there is little point in the noble quest of "how it was supposed to sound in the recording studio"... never going to happen, unless you were there. Having said that, I do want my home set up to give a fairly uncoloured view of what I'm listening to. No super hyped bass response or slicing exaggerated treble. I record fairly often for different projects, and I don't want to hear works in progress with anything added or taken away. A few years ago I bought some used AVI Neutron speakers from EvilBay - a small company in Gloucestershire with a reputation for good quality without daft prices. They were over ten years old, had a few marks from rough handling by the courier but sounded fantastic. Small bookshelf speakers with some authority and a real sense of detail across the upper mids. Unfortunately, one started cutting out after a few weeks (couriers!). I've tracked the problem down to the terminal block, but didn't have the time or interest in pulling it apart. [attachment=161254:IMG_0760.JPG] The new version of the Neutron (black, below) was slightly bigger, rear ported but I decided to invest in a new pair to see how it had improved. Same basic tone, but a bit deeper and fuller in overall soundstage. I was really pleased. Then a friend gave me these 1961 BBC outside broadcast monitors LS3/1. [attachment=161255:IMG_0703.JPG] I plugged them in, expecting fuzz and distortion from rotted paper cones and blown tweeters, but no, they sounded remarkable. Realistic, natural and just completely enjoyable. Amazing that 1950's technology could produce such a great sound over 50 years later. [attachment=161256:IMG_0575.jpg] A single 15" paper cone, with two early RCA/Celestion HF1300 tweeters and crossover network your Grandad would be proud of. Handwritten labels and pillow stuffed with fibreglass and carefully tied in place with string. A bit of research showed these were the BBC's first attempt at making a full range monitor speaker for the modern broadcast industry - all the Rogers, Spendors Harbeth Kef's etc made from the mid 60's through the 80's and onwards were descended from theses big grey boxes that looked like leftovers from an early Doctor Who set. TBC

Just saw this - could be a good night out for a bass related laugh? I put the audiobook on my phone a few months ago and its been a great source of amusement - I'm actually a bit surprised at how engaging and enjoyable it is. Seeing him tell the tales in person should be even more fun... Looks like the venue is The Natural Theatre Company in Widcombe. Conehead central.

Here's a scruffy photo of the Rick Turner Renaissance. Somewhere between a classical guitar and a Telecaster, with a jazz bass neck. Very odd, but it works! I need to experiment with strings at some point, but for the moment the Thomastik flats do a good job. [attachment=160760:IMG_0271.JPG]

I'd agree with that...

Try Liberon tung oil - very easy and colour neutral. I'd avoid most waxes, other than the Birchwood Casey (has petro-chemical health warnings) or Warwick wax. Most thicker beeswaxes can get sticky, but these are both thinner and dry to a soft sheen rather than furniture polish gloss. A few light coats of tung oil is all you need..just clean up and re-apply once or twice a year.

Sounds like you aren't expecting stage volume to be an issue - in which case an acoustic double can work fine. Pickups and preamps are much better, and stage monitors can often replace the traditional backline. The best system seems to be a pickup and small amp/monitor for stage sound, and a mic running (only) to PA. The pickup can also go to the PA, and be used to reinforce the mic if needed. Bit of a luxury, but that seems to be most flexible and workable way of getting all the sound. Happy musings...

My options include cheap but serviceable Double bass, Clifton EUB and Turner Renaissance acoustic/electric. The Clifton is the most versatile - plays like a double, uses regular strings (of whatever flavour) and pickup of choice. Lacks the character and quick decay of a real acoustic bass, but works in most real world settings without most of the hassle of an acoustic. No feedback issues on loud gigs, easier to transport and tough. But its not an acoustic. The Turner is a lot like the Rob Allen..and its a third choice (with Thomastik flats). Its a bit flat and boring to me, has some ergonomic issues (very light and easy to play, but top heavy) but I often get compliments on its sound from the audience - never really worked that one out!? Not much help really, but to me it just comes down to logistics and volume requirements for the gig.

I also heard that Leo preferred the sound of all maple necks, but also used rosewood partly for marketing reasons (most other instruments had ebony/rosewood boards). The thin veneer boards gave a compromise between the sound of more maple in the neck and the cosmetics of a dark fingerboard..and also avoided the occasional neck problems that came with maple/rosewood slabs they used at the time. I'm sure the timber conditioning in those days was a much more variable process, and a fairly small company wouldn't be stocking timber in the quantities needed to let it dry for a long time in house before production. Just what I heard....

As with anything, its worth what you'll pay. Look on EvilBay etc for any recent/local examples, but also look at condition. They are great but also rack mount and heavy by current standards - so nowhere near as popular as the performance would suggest. My personal guess would be around £170 - 200, but less if looks rough and rusty. They often do!

Guest passes, fuel costs, food and drink - they are getting your time and services for free, so don't be shy. Add up your total band mileage@45p per mile if you need a figure to feel confident with haggling.

Nice basses - but plenty of stories of wonky truss rods and fragile pickup selectors - get to the porn section...

Nice amp, but may be some work. Don't let that put you off, it probably wouldn't cost much. A great all purpose little amp, and very powerful for its size. The earlier GP11 with the XLR input (great idea if it had been taken on by others) is a great preamp.

No, not Pau Ferro. It was parraticolo or something like that..hence the parrot sh*t. Its about as hard as an ebony board, I suspect - but looks dark brown very much like rosewood. He's been playing (only) the same bass for over 25 years and it hasn't got much wear.

Sounds like epoxy would be a good idea...

Be aware that the sound will change - much brighter and more edge. Nice, but different. On a Wal I'd be thinking new ebony board (not by Wal necessarily) if I loved the sound of that bass. On a side note, in the early days Wal used a wood called something that sounded like parrot sh*t (as Pete called it) some form of South American hardwood similar to the stuff they use for bow making. Looks like rosewood but a lot tougher. A friend has an old ProIIE fretless with this, and it is the best sounding fretless I've ever heard - a real woody growl. I don't think they used it much, as it was hard to find.