BassBod

Look up Mo Clifton's Cherry basses (cliftonbasses.co.uk). They are shortscales, but mine is extremely light, but has plenty of power (its also passive, but Mo normally fits an Aguilar preamp). Part of the reason for this design was the back/shoulder problems that seem to hit bass players of a certain age.

From memory its a nut (think Gibson style) and probably an imperial size? Hope you get it tweaked to perfection! I'd love to see some pics....

And there was I, thinking you're a "one man and his Wal" .....you've become a collector!

Wouldn't it be interesting to do a comparison - something like a Shergold Marathon or early Wal, paired with an HH combo or Sound City 50 Plus...and a late 70s P or J with an Acoustic or Polytone? I've got a feeling the Brit gear would stack up pretty well. At the time most players spent a fortune getting the US gear, but I wonder if we've all changed over the last two or three decades? When's the Bristol bass bash I wonder?

I read that as a boost in midrange - although one mans honk is another mans growl - if you know what I mean. Maybe try boosting that frequency range on another amp and see if its agreeable?

Just to be clear - I'd never say DI only is the way to go. Micing cabs takes time, can be hit or miss and sometimes causes problems for other instruments. DI only is really as much for control and speed as sound quality or tone. It gets the job done. One day I'll have five whole tracks to myself...he he he

All depends who's paying...and the level of the studio....timescale...how long to lunch. For most of my project sessions I'm perfectly happy to just use a Sansamp. I've used one for years so I have my setting options burned into memory. I can actually set one up in the dark...and I've had to. But, I don't have a signature sound, I'm usually trying to fit in with whatever situation I find myself in and that can be anything from "polite" dinner jazz through to blues rock. If its an "expensive" project I'll take a posh rack preamp or two, with a decent passive DI. But I'd use something else if I was asked to, and it seemed a decent quality (Avalon, Countryman etc). I'll never get into a scrap with an engineer, if at all possible. I haven't ever (in at least 20 years) miked a cab for a studio session.

If its any help, I nearly always turned the tweeter right down. Nothing wrong with it, in fact it was a very musical one compared to SWR/Eden. I only really used it if I was amplifying acoustic guitar or vocal, and even then it was never more than half way up.

I had two of them..very close serial nos. One bought new via Overwater..the other used from here, a few months later. No idea which of the two has just died. Sounds like the weight saving will be worth the hassle, its a great sounding cab, but 34lbs was a bit much - its the only reason I sold them.

Sorry to hear about the dead driver....having used that cab for at least 6 years, I even feel a bit sad! But its very interesting that the driver is 4ohms. I used to use a pair with an Eden WT300, and it would overheat/shut down if pushed. Now I know why! Sorry Eden......

The pair in my five string were made by Kent, probably 12 years ago now, before he moved back to the States. I just had a chat with him on the phone, and he sent me something to do the job. I wasn't a fussy customer! Sound wise, the nearest description I can give is a "Ken Smith" type sound....clear, with strong mids. Not as honky as a Music Man. In series they are very dark and powerful (a bit Wal?), in parallel they have a lot more top end but less power. My bass is passive...but I should just wire them to parallel only and put in something like the Aguilar circuit to give the low end some extra weight. Back in the early 80s Kent's handmade pickups looked identical to Ken Smith's humbuckers, with allen key poles...so I'd guess they are a related design. I'm sure Kent will tell you all if you send him an email? His son Aaron is still making pickups in the UK, but he didn't have a web site last time I looked.

Everyone loves a happy ending

I recently got one for my Midget and thought the handle slot was in the wrong place....then I realized the handle isn't isn't in the middle of the cab. Turned the cover around and it was a perfect fit. Worth checking?

Sold Raggy my Squier CV Pbass - great guy to deal with. Easy communication, and even travelled in the snow to get here. Highly recommended.

Exactly what I thought..but it may also be because they put a few thin laminates into the joint? Or they may choose to use a weaker glue for the join - Alembic were repairing basses before they started making them.

I'd still rather play an EB3 than a W'wick Thumb! Sort of reverse Jack Bruce.......

Have a look at the Alembic site - they seem to re-attach severed heads with no problems, partly because the glue joint often gives in an accident, and this makes for a clean break.

As a former (very happy) owner of these cabs...... I'm also very fed up of couriers damaging things, so I try very hard not to use them. EA are very good at service, but their drivers are pretty special items. A generic replacement probably doesn't exist, but I'd ask Mr Barefaced Alex Claber for some thoughts, as he will know what is obtainable in the UK and what the trade offs will be for various drivers in a transmission line cab. The lighter replacement EA driver is a good option (my only issue with these cabs was the weight) but it obviously costs a lot. BUT - before you do anything else, check all the connections on the driver and the input panel. If the cabs been thrown around enough to damage the driver I'd expect to see real evidence of damage on the outside of the cab/packaging. Best of luck

I've used Kent Armstrongs in a few basses, but the handmade versions. Very good pickups, and I remember Kent saying that the WD Korean versions weren't very different. Have a look at Carl Thompson basses and you'll normally see them (Korean imports from WD, not made by Kent). Its worth trying them out in both series and parallel wiring, as they sound quite different.

I'll nominate the Warwick Thumb - such a beautiful looking design, and great woodworking...compromised by heavy weight, peculiar ergonomics and floor diving headstock. Unless you wear it under your chin. Should have been headless. I have seen one, nailed to the wall in a German club, like a sacrificial offering. But it wasn't built as a headless.

Nothing vulgar....I'm at that two kids and skint stage of life (seems to be going on a bit!) but I am looking forward (hopefully) to such times ahead. Please.

I use a cheaper Radial, the ProI (green box, cheaper transformer) but it sounds fine to me. Main thing is its simple and tough, and will be forgiving if it gets a wallop along the signal chain. The one for sale here is better, by reputation, and looks like a good deal. The only way to know, of course is to hear them! I think my experiences with active DI's have all been running on battery or phantom power - mains powered units are probably more tolerant? But the sound of a DI running out of headroom through a big PA is not pleasant..or something I want an audience to hear, again!

I've used almond oil (from the supermarket cookery section) with success. It is to stop the unfinished wood from drying out too much, rather than cleaning. Its also a good idea to condition/clean the fingerboard a few days ahead of a string change. Put the old ones back on, let the neck dry for a day or two...then out your new strings on and hopefully the oil won't deaden them straight away. Although, some people don't like fresh strings...or so I've read on the interweb.

That will be fine provided the DI can take a real line level signal. My experience is that many active DI's will clip, even though the specs look ok. I do the same thing but with a passive DI box, (and "hot" output from Alembic or SWR preamps) and it works fine. The other option is look for a line out or link jack out of the power amp - that may have a lower output level?