thinman

[quote name='xgsjx' post='172810' date='Apr 9 2008, 07:39 AM']Thanks for this, it's helping me narrow things down alot. I'm thinking about now either going down the line of getting either the Markbass 102P or the GK 1001 210 combo & then at a later date (2-3 months) if needs be then add something like the Warwick 211 cab. This is based on reading too many forums on here! lol I like the idea of the combo as it's just one lift, but would I be better spending @ £500 on a head & @£200 on a 210 cab to start with? Surely these combos don't suffer from rattle like some really old combos can (even my wee Vox thing doesn't). I get it narrowed down a bit & make more options I don't really have the option to try before I buy as there is no MB or GK dealers near me (not for a good few hundred miles anyway as far as I know), but I kinda know what the GK sound is like & by the sound of what other BC members are saying, the Markbass is a very good sounding piece of kit. I tried the Ashdown in Soundcontrol & it's not really for me as it's a bit too "old wooly" sounding. I'm not dissing it as it is a nice warm sound, just doesn't suit my style of playing. Tho adding the ABM 15 cab to something might work.[/quote] As a recent convert, if you're able to saw wood build a Bill Fitzmaurice cab. I've just built an Omni10 for £220 and it's excellent. Very clear. I was using an Ashdown previously and grew tired tired of the muddines (and it went pop). For your £220 that includes Eminence Neodynium Deltalite drivers which would probably only come with a very expense cab. It's a 2 x 10 but is very efficient and many here reckon it's as loud as many commercialy available 4 x 10s and has bottom comparable to many 15" cabs. The problem is finding one nearby to hear. But, if you built it and didn't like it I'm sure someone would take it of your hands for more than it cost to build. Some registered builders sell a Deltalite loaded Omni10 for over £400. Mike

[quote name='warwickhunt' post='172970' date='Apr 9 2008, 11:31 AM']I've just been offered a GK800rb as part of a deal for my bass. Plugged it into my cab connected bass, cab etc powered up (to quite a large pop) and I'm getting a hiss and what a sound like a drummer playing fast para-diddles! Argh... I power down. I step back think then go and get a different bass and lead (inc IEC mains lead). Same thing (except no loud pop as I left the speaker cable out until it was powered up, then I inserted it). I tried the speaker lead in the other outputs, inc' the 8 ohm 100 watt output... the same. Argh... I power down. I step back think then go and get a different amp (my Thunderfunk). Same thing (except no loud pop as my TF doesn't do those things). The same thing but not quite as noticeable! Now this has never been like this before. I can't see how the cab could be inducing this noise but I'd like any input if that is plausible! As both amps are doing it I'm assuming that it's consumer electricity supply related... I don't have my car at the moment otherwise I'd throw it all in the car and nash around to my local rehearsal rooms, so any thoughts? Just a thought but... our leccie supply on the ring main has tripped a couple of times through the night, this may give some clue but I don't know! Obviously I'm going to contact a mate who is a sparkie but in the meantime has anyone come across this before?[/quote] You've eliminated the bass and head and I doubt it's airborne interference inducing signal into your cab directly. To be audible it would probably cook you! Where I live we used to frequently have everyone put on a temporary diesel generator patched in to the sub-station down the road with corresponding mains glitches . Don't know if you've got one of those in use at present that's kicking out a lot of mains-borne or air borne interference than normal mains? It's not another household appliance gone a bit awry is it? I wouldn't have thought a good amp itself would let noise through its power supply - it's more likely to be something airborne getting into a high gain amp - either the preamp or your bass itself. Where we practice we're about 2 miles from a BBC radio transmitter and at times that seems to be able to induce a signal into just about anything including guitar amps without a guitar plugged in! The only other thought is a radio transmitter of some sort nearby that's just turned up. Sorry - bit vague but I'm sure someone here will have a more specific answer. Mike

Bought a H&K Bassbase head from John. Nice old amp head exactly as described. Very obliging and helpful.

[quote name='warwickhunt' post='170744' date='Apr 6 2008, 03:52 PM']Cheers mate, I shall go forth and check it out. Anybody you know or is it a well known finnbasser? Carriage is probably gonna be the killer but we shall see![/quote] It's no-one I know - not sure if they're a longstanding finnbasser either but may be worth a few enquiries.

[quote name='peted' post='170588' date='Apr 6 2008, 10:28 AM']That Omni 10 looks great. I bought the plans from BFM a few months back but haven't summoned the courage to try building yet. I have nil woodwork experience, so I'll be asking my dad for help.[/quote] Thanks - gofor it - it's worth it. However: I'd practice ripping up ply with a circular saw using a guide first. I use a 4' aluminium spirit level with two G clamps but the plans do show you how to produce a ply alternative. G clamps are very useful, dare I say essential. The other important point is to remember that a saw blade is not zero thickness. You need to measure from the saw foot's guide edge to the near side of the teeth and the far side to where to clamp your guide. E.g. If you want to cut a 200mm wide piece then with my saw I measure 238mm and clamp the guide at that point - 38mm being the distance from the saw's foot side to the far side of the blade (36mm + 2mm blade thickness). Another useful aide is a 90, 60, 30 square which I found useful for accurately setting non-square cuts - it was more accurate than using the angle guide on the saw. (BTW always check your saw is at 90 degrees before use when curring square edges - never assume). The saw sled the plans describe is also very useful. Drill countersunk holes through it to allow you to screw it to the work piece (at least two per workpiece otherwise it can swivel). Remember that the bit you want to keep goes under the sled - not on the exposed side otherwise it ends up a saw blade's thickness to small! And the old saying applies: "Measure twice, cut once!" A router with a 10mm rounding over bit is also very useful - most cab corners fit that radius.

[quote name='warwickhunt' post='170125' date='Apr 5 2008, 09:10 AM']Nice looking job and I'm pleased the H&K is working out for you, must send you the manual as soon as I can lay my hands on it! I 'may' end up with one of these soon and though I've not heard one in the flesh (anyone in the NE ) I'm sure from all of the comments I shouldn't be disappointed. <edit> I'm on the look out for one of these, I'd buy blind (or deaf in this case) if the price were right but if it's proper money then I need to hear one first [/quote] John, One's just come on on finnbass for £250 which is a bargain but it's in Portsmouth.

[quote name='nugget' post='170154' date='Apr 5 2008, 10:41 AM']Great build - Thinking of doing one myself, if you dont mind me asking how much did it cost to build????? Thanks[/quote] I asked the same question of Gilmour about his Omni15! About £220 in total. £120 for the Deltalites. About £10 for piezos, resistors etc. £40 for ply. About £30 for foam, feet, handles, corners, speakons, connector plates and grille mesh. Another £20 or so on sundries such as glue, nuts,bolts, washers and paint. Could probably have saved £10 by using a cheaper ply, another £40 by using Beta 10s instead of Deltalites so it could be done for about £170. Using "proper" cab paint would probably have added about £20 (it might yet if my £3 Wickes masonry paint job doesn't hold up). Mike

[quote name='david_l_perry' post='169172' date='Apr 3 2008, 03:01 PM']Lovely looking build.... They really are a fantastic sounding cab...... Top job that man...!![/quote] Cheers David - I've been admiring your other builds on the BFM site and finnbass. What intrigued me most was an discussion you had on speakerplans.com IIRC when doing your very first BFM builds with someone who was convinced that the cabs would be rubbish based entirely on his analysis of designs and never actually having heard one. I guess you feel vindicated now... I

[quote name='OldGit' post='168920' date='Apr 3 2008, 10:43 AM']Doesn't someone on here build Omni's for people?[/quote] A chap called Thumper was an official builder. Not sure if he still is though. I think official builders are listed on www.billfitzmaurice.com and probably some on finnbass.com. Check the "Where can I hear a BFM cab" thread. IIRC an Omni10 of a similar spec to mine is about £400 built.

I've had a chance to give the cab a good go now so I'll try and post a review withOUT using the words "warm" and "punchy"....

It seems to be a common thing on this and other forums where people talk about a "loud" xxx Watts amp versus, I assume, "quieter" xxx Watts amps. Surely most of this is just perceptual due to other factors such a different cab efficiencies, tone and differing ways of measuring amp output and, I suspect people comparing apparent volume for the same master gain knob position? I'll give you an example: I've got an Ashdown MAG300 1 x 15 combo (about 180w into 8 ohms) and a H&K bassbase 250 used with a BFM Omni10 (250w into 4 ohms). For similar EQ (flat) and input gain settings (as far as I can tell) and the master set to a third on both, the Ashdown seems louder despite the Omni 10 probably being more efficient and the the H&K being allowed to provide its full output into the lower impedance. However, I have a suspicion that some amps are designed such that they reach their full gain for an average input level quite a low master setting. i.e. if I turned the Ashdown up further it will start getting nasty sooner than the H&K/BFM which will then show it can produce a higher SPL. I reckon from the marketing point of view it's thought that someone will try an amp at reasonable volume in a shop and think "blimey - that's only on a quarter and it's pretty loud already" thinking it will get louder linearly as they turn it up, i.e. it's got "louder watts" than another amp! OK, I realise that better amps will probably deliver their quoted output in a real life situation whereas others only do it under specific artificial situations but that's not really what I'm on about. Maybe I'm just being cynical...

Linus27 - I know you were considering an Ashdown MAG300 C115. I've got one and as a bread and butter amp it's been pretty good and even without an extension cab I found I could keep up with our drummer OK (in fact we mic his bass drum and stick that through the PA) and he's got quite a decent loud Sonor kit. However, I've recently built a Bill Fitzmaurice Omni 10 which is a horn loaded 2 x 10" with 4 piezo horns. That cost me about £220 to build but that includes 2 good quality Eminence Neodynium drivers of the sort of quality you probably won't get in a commercially produced cab for twice that cost. I then bought a rather old but perfectly working Hughes & Kettner Bassbase 250 head (from Warwickhunt who frequents this forum) for £125. That can put out 250w into the 4 ohm Omni 10 (which can handle up to 500w). The Omni 10 is very efficient so you get plenty of SPL per watt. That is a big factor as has been mentioned in previous postings - it's not totally about power. I now think that for about £345 I've got a really nice set up. I don't know if you would consider a build your own cab but it's a good option if you feel able and there's good heads to be had for reasonable money. What struck me most though is the bass response from the Omni 10. When I first bought the MAG combo I plumped for the 1 x 15" because it seemed to have more bottom - I didn't like the 2 x 10" version as much. However, the Omni10 seems to have far more bottom end (maybe just perceptually) than the Ashdown 1 x 15" and a Trace Elliott 1 x 15" that I borrowed recently. Some of this may be due to the tone of the H&K amp which has a valve pre-amp that must impart some nice tonal quality. So, use your ears when deciding on a cab. My experience here is that it's not always true that a 1 x 15" will have more bottom that a 2 x 10" - there's too many other factors. Mike PS My Ashdown's going up for sale now. The transformer blew but Ashdown fixed that - I think you've seen the thread. I wouldn't make a salesman would I?

Well, it's finished. Lined the cab with egg-crate foam, wired it and put it together: [attachment=7098:cab10.jpg] And here it is... [attachment=7099:Cab11.jpg] and [attachment=7100:Cab12.jpg] (I think there's some sawdust stuck in my camera). Quite pleased with it - looks something like a cross between a F117 and Darth Vader. So, what does it sound like? Haven't had a chance to turn it up much - should do that tomorrow (Monday) - but tried it with my newly acquired H&K Bassbase 250 head (thanks warwickhunt) and my MIM Jazz. First impression is that it will be loud due to its efficiency and very responsive to what's played. It also hints at being very punchy. I haven't broken the drivers in as part of the build so will have to do that through playing but it certainly doesn't seem to lack bottom end. I had the EQ set flat and the tone was very full. Now, I don't have too much with which to compare this cab but I've currently got an Ashdown MAG300 C115 combo. That doesn't seem to lack power but sounds like a bowl of rice pudding by comparison. I've also recently used a Trace GK7 1x15" combo and a Wawrick 1x15" combo and this seems so much punchier and responsive.

[quote name='Machines' post='166224' date='Mar 30 2008, 08:28 AM']D'oh ! You should have argued on that one.[/quote] I questioned Ashdown about this charge. I was told that coverage of such costs is at the dealer's discretion. I do think it strange though - to me a warrantly repair is at no cost to the customer. TBH I lost the will to argue the toss! As regards Linus27's concerns, I couldn't get an answer out of Ashdown as to whether newer transformers are improved at all. I've heard on this forum that it was 2006 models that were problematic - I bought mine December 2006. It'll be up for sale shortly. The owner of the shop in Maidstone where I bought it and got it repaired was adamant that he never sees problems with those amps (though his assistant raised an eyebrow at this behind his back). In my opinion Ashdown need to work hard on improving their quality reputation. If they could sort that their products would be good value if you like the sound.

I've got the Ashdown dual band but I'm not too convinced by it. It seems to be too easy to overdrive (especially on battery power - a mains PSU is a must) and in my opinion the controls are not too well thought out. Most of the usable sounds are found around the mid points of the hi, lo and mix controls and very slight adjustments make a big difference to the sound so it's quite difficult to adjust and return to a specific setting. It doesn't have an adjustable crossover point between bands either which some may find limiting. I'll be looking for an alternative at some point.

Finally progressing again after an two week enforced break due to a rather nasty bout of flu. Two weeks spent coughing, feeling crap, watching Jeremy Kyle and reading basschat. The cab's now painted, handles, feet and corners on. The back's made with a twin speakon connector plate cut in. The baffle and brace are cut with T-nuts mounted for the drivers. Must find a better alternative to T-nuts - they're horrible things. Dave Perry had some interesting looking brass insert things. The piezos also turned up so I cut the holes in the tweeter baffle. The piezos are not air tight so I sealed them with black silicone before fitting and also sealed them in-place. Latest photos below. It got rather dusty in the garage hence the spots on the lens and dust on the cab! Looks better in the flesh! All that remains is to fit and fix the egg crate foam damping, put the grille over the baffle and final fix that plus wire it up. Picture of dusty front with piezos in and baffle standing in-place. [attachment=6835:cab7.jpg] View of the back with the baffle loosely in place. [attachment=6836:cab6.jpg]

[quote name='The Burpster' post='162077' date='Mar 23 2008, 09:55 AM']Sounds good..... Do you have the neck really straight? I'd be inclined to try a tad more relief too! Waht do you have it set at now? Thinking about it, one of my guitarists Strats did this a little, we added a few thou' more relief and it cured it![/quote] Cheers Burpster - I'll have to get my feeler gauges out and measure the relief but it is pretty straight. Maybe a slight slackening of the rod may be in order but I'm a bit averse to fiddling too much. Maybe I should do a bit of reading, take a deep breath and get to grips with these adjustments.

[quote name='jono b' post='160889' date='Mar 20 2008, 03:51 PM']The E on my MIM Jazz does the same thing, I think it stems from replacing the stock bridge with the BadAss II. Neepheid has a 3 string retainer bar on his OLP, you can see it in one of the build diaries he's done, I don't think it would fit in with the Fender vibe of the Jazz but it'd probably sort out your A string jumping out. My solution was to put a Graphtech nut on it (Tusq) and spend half an hour filing it down, tuning the E back up, hitting it as hard as possible to see if it was still jumping and repeating the process as required. Playing finger-style helps as opposed to playing with a pick, but if you have to use one try picking as close to the bridge as you can. Dr. Dave - nice bass! Although I've never seen a Jazz with Strat knobs before, it looks quite cool![/quote] jono, I'll try the nut suggestion - I play finger style most of the time and it's not a problem then - just with a pick. I also have a strange resonance on the A when fretted around the 13th - the string sometimes resonates on the nut side and I wonder if there's a connection. And I think my problem arose after fitting the badass although the action's the same. Dr. Dave - nice bass again - and sorry to hijack your thread but you may have helped a couple of people out!

Dillsfretless, Heartily agree with all the comments. Seeing you're a similar age to me then hopefully you'll have the same experience of there being loads of people coming out of the woodwork gagging to get involved in a band having become slightly less fettered by kids, jobs etc. Our problem has been turning people away! I was still doodling around recording etc but it's nowhere as inspiring as playing with a band. Being in a band also creates the inspiration to practice and learn. I also find that getting low key gigs is also much easier when you're all a bit older so it's all turned out to be easy and enjoyable. The biggest problem can be finding somewhere to practice together.

Nice one Dr. Dave. I do like that pickguard with the 10:30 blue colour. Alway been a 3TS fan but could be tempted. I put 84s and a Badass on my MIM Jazz too - well worth it. Interested about the extra string guide - my A sometimes jumps out of the nut with a bit of over enthusiasm - I assume that sorts that problem?

[quote name='The Burpster' post='160541' date='Mar 19 2008, 10:51 PM']OK, So now I'm wondering, is the string making the 12 fret when you are fretting the 13th? If so it could be a high fret or more likely you have worn an indent on the bottom of teh string at the 23 & 14th frets and this makes it lower. So, when you fret at the required fret the space between the bottom of the string and teh fret below (12th) is reduced to nothing and it is effectively being fretted as both sides of you finger.... Does that make sense?[/quote] Thanks for the reply. I can't see or feel any indentation of the string and generally I'd say that around that position on the neck all of the strings seem to fret on the "nut" side as well as the bridge side of my finger (I'm not a heavy fretter either). It just seems that the A sometimes likes to resonate in sympathy on the nut side. Couldn't spot anything in terms of a high fret but I suppose it could be very slight. I'll try a new set of strings and if that makes no difference I'll get the local luthier to have a look - he's a pretty good chap.

I live about 50 yards from Rotosound's factory so I find it ironic that one of the cheaper ways to get their strings is via Thomann. How's that for pointless air miles? Mind you, the local guitar shop does a basic set for about £17 which I'll stomach. A worse case was I wanted to get a basic Korg guitar tuner. Thomann do it for about £11 but I thought I'd use the other local shop to show loyalty. I expected maybe £18 or so to cover their overheads. My jaw dropped when asked to hand over £30. I know they have higher costs than the mail order firms but that's just a con. I didn't buy.

[quote name='The Burpster' post='159944' date='Mar 18 2008, 09:29 PM']3 things .... Is your action set really low and what type of nut do you have.... How old are the strings (what type are they too) PLease....? I have a couple of thoughts but need to know these bits.[/quote] Original Fender roundwound strings about a year old (yeah I know but I don't like them too bright). Original plastic nut. The action is reasonably low - do you need measurements?

[quote name='The Burpster' post='159802' date='Mar 18 2008, 06:08 PM']Are you absolutely sure its not a sympathetic harmony on another string? I cant see how the pups would pick up a harmonic from a part of the string that should be damped by your finger, and with no pup...... Just thinking out loud...[/quote] Yes - checked that - it's worse with hammer-ons etc but it's definitely the A string. I can stop it by damping it. It's like the string is fretted in both directions. As I said its obviously far more noticeable unplugged but it does affect the tone picked up by the pickup a little.

On my MIM Jazz I have a strange problem when playing the A around the 13th and 14th frets. (Standard EADG tuning). The string sometimes plays a double note because it vibrates between my finger and the nut as well as between the fret and bridge. E.g. if I play a Bb there's sometimes an underlying Ab (I think). This is very prominent unplugged but I still think that plugged in this behaviour colours the intended note to some extent.