The fasting showman

[quote name='tauzero' timestamp='1406199467' post='2509215'] I suspect it's whatever material is left after Peavey and Trace Elliot have sucked all the heaviness out of it to include in their cabs. Which reminds me, what sort of quality was the 12mm ply used in the prototype cab builds? B&Q quality or top quality Baltic ply with voids filled with unicorn tears? [/quote]Mr Tauzero, not answering your question but I mention this as you are local; the Lichfield branch of Travis Perkins supplied me with an 8x4 sheet with very accurate saw cuts (table saw not vertical) of 12mm birch ply for around £50. That made a 1x15 cab approx the size of a Trace 1153. Hope that is of some use. Prices as of May 2013. Martin

Hi Stu, I agree with pretty well all of the above but I'd add have you tried lowering your bass? I've had to do this recently with my slab tele/ P bass/ lump of concrete. Through lowering the bass my right arm suddenly doesn't hurt any more, my left hand technique works OK but looks horrible! I've always had the same issue; raise the bass and left hand struggles less but my right hand and arm are tied in knots, lower the bass and I am comfortable but my left hand technique is put back 30 years! Best of luck, Martin

[quote name='ash' timestamp='1404384630' post='2492089'] Hi Martin, how you doing? Thanks for the info. My second plan of action was to keep the original cab as is and get a more modern cab and 'pimp' it with Vox speaker cloth etc. to retain the look. There are plenty of nice lightweight cabs out there with suitable vinyl finishes - I admit I had thought of using a Markbass however and just leaving it as is - that would be a meeting of old and new to make the purists wince wouldn't it? [/quote]Hiya Ash, I'm not bad mate. I'll be using the '72 tele / slab P from hell a week on Saturday at a Rockabilly gig; I ought to be doing Pilates and Alexander technique in anticipation of wearing the bloody thing! Still psyching myself up for that ex-Druid bass thread... Good idea regarding retro-ing up a new cab design, you can just use the original for Sunday best, lip-syncing on TOTP or whatever.If you have the time or inclination you could build one, maybe? I made a DIY 1x15 last year, Mr Balcro helped out greatly with the specs and didn't recoil in laughter when I emailed the photos of the finished article. The woodwork (12mm ply) and hardware came to about £70, it came together easily as Travis Perkins did a great job of the cutting list. If I had more time and money I'd be intrigued about doing a DIY copy of a Fender Showman tone ring cab. Keep us posted, Martin

[quote name='ash' timestamp='1404382451' post='2492052'] I'm having the same problem, my speaker cab is an earlier Vox 18" from '64 - the amp is a very loud AC50 and they are an original set. The 18" sounds great at low volumes but is underpowered for the amp ( I suspect it was used in a pair) I believe the original Celestion speaker is only rated at 50 watts. Been looking at the Fane Sovereign range which cost around £125 for the 18" and state they are suitable for bass guitar in small enclosures. If anyone has a 100 watt Celestion 18" knocking around I'd be interested though. Added a picture of my Vox stack and the type of Celestion. There's a good site about Vox Foundation cabs here - [url="http://www.voxac50.org.uk/index_07.htm"]http://www.voxac50.org.uk/index_07.htm[/url] Very interesting thread by the way. [/quote]Hi Ash, I enjoyed the thread you attached. This is off at a tangent somewhat. Around 10 years ago I owned a mid '60s B15N...it had a few issues (like most vintage gear that has come my way!) but had an after market alnico JBL 15 in it. I remember thinking what a nice cab it was, it had the slot ported reflex design with the double baffle I think. What with all the info available could there be any mileage in doing a portaflex cab replica in Vox cosmetics? Could be nice with an AC50 driving it and at least then there's all the homework done by other people as to what current Eminence would work in that cab type. All the best, Martin

[quote name='bubinga5' timestamp='1404080817' post='2489181'] i really dig his style. the guy was mental, and that comes across in his drumming. he's no billy cobham, but thats what makes him more interesting. he's def not sterile. [/quote]I really like the clips on Youtube of The Who from 1964 when they were briefly called The High Numbers, I think the gig was at The Railway Hotel (should help you find it), as you get to see Keith Moon's drumming on a smaller kit and making a room full of people dance. Quite a tough RnB groove comes across from him on Jessie Hill's 'ooh pooh pah do' (spelling?). I guess he would have been about 17 at the time. The 1969 Kilburn gig that there is footage from shows more of the no hi hat style that he evolved into.

I have had some weird stuff happen with selling on ebay of late, I think I've had enough. But yes as a seller, it is easy for an old email account of yours to drift back into the item sale page, one to watch out for if you've changed service providers / email etc. It collapsed a sale before for me and whenever I list an item perhaps one in ten will drag in an old email (tiscali I think) which scuppers any incoming Paypal in my experience. Something to watch out for as a seller and for me yet another bitter taste.

Yes you do, I bought my first one about 10 years too late! There's bands that I was in where it would have been the perfect bass. I think they are a bass you have to see if you click with, my experience is always the polar opposite to what Lozz mentions, he can clearly make a P bass work for him (lucky man) whereas I have tried for a long time and failed! Maybe try out a USA EBMM sub 5? They're a bargain. Martin

How about (I think it's called...) Solvol Autochrome / Autoglym? It comes in a toothpaste tube, Halfords do their own version too. It will sort out what you are trying to do, all us cycle tinkerer types use it on everything from chromed steel to softer alloys. Much as what you are dealing with is a dull metal on a thread, the paste always strips off the top layer almost like a very aggressive version of T-cut. Martin

On-topic: Bootsy Collins in any band he's ever played in? Much as I really enjoy Bootsy's playing, showmanship, vocals etc I think the genius behind P-Funk is Bernie Worrell; great musical grounding and also sonically very clever. His keyboard parts have cropped up everywhere either on rap records (Prophet 5 or Clavinet through a Mu-tron) as samples or as a featured sideman.

OK Seashell, it's from 'Pablo Picasso' by The Modern Lovers. I'll keep out of this I think. Martin

[quote name='sprocketflup' timestamp='1398268660' post='2432294'] Looks like we're all stumped with that one ^^^^ [/quote]It's been covered by enough people...

[quote name='mxm' timestamp='1398110680' post='2430612'] Anyone got any idea what amps he was using around late '82 - for this performance he's got 2/3 stacked flight cased Marshall heads with an open metal grille (as opposed to the normal fabric weave). Always wondered... I'm lazily assuming they are some variant of a Superbass ?!!! [/quote]They just look like regular JMP Superbasses but in a semi open case, as you say. What an array of different cabs though!

To add; I mention the old USA Subs as they are a good cheap litmus test to see if a Stingray suits you. They sound incredible for £350ish s/h. As mentioned above by MM20, I've never felt the need to change anything on an EBMM bass personally.

[quote name='JazzBassfreak' timestamp='1397916554' post='2428603'] In Burton on Trent staffs, I'm selling my Alembic anyway, I've just not really had any trade offers or interest which is a shame [/quote]I'm just down the A38 in Lichfield if you want to try mine. Mad busy over the next week after that gimme a shout. I've found the Stingray to be the bass best for me overall, I've owned 4 different ones in the last 7 years; I went off them briefly and then missed the sound. When I listen to other players P-basses are my favourite sound but for me I find that a Stingray does everything, I seem to be either too indistinct on a P bass and when I dial in clarity I get too boxy sounding, and this is after years (decades!) of tinkering. The Stingray seems to flatter my playing and doesn't cause any aches anywhere, I think if you get on with them they are a great bass. I think the 3eq ones get a bad press, I like mine. Old USA Subs are fantastic. Martin

Tokyo Joe-Roxy Bryan 'Big shot from the hip neon cool' 'Well he was only five foot three but girls could not resist his stare'

[quote name='mikhay77' timestamp='1397481704' post='2424305'] A lot of pick playing too! [/quote]Yeah, that always gets overlooked I think. 'Magic Bus' on 'Live at Leeds' has incredible plectrum playing.

I think as Luke has said the odds are stacked against it for practical use. To hear one in use (albeit an original) for bass check out the Town hall party clips of Eddie Cochran and band playing Summertime Blues on Youtube. Sounds good in that context actually...you'd need to use one in the right band I think. I believe Joe Osborn used to record with a Fender Concert combo, similarly an open backed 4x10. Recording as we know is a whole other thing rather than struggling to compete in a live setting. '70s Fender Bassman Tens are a 50 watt sealed back valve 4x10 combo, They can cope in a polite, rootsy band setting. Just about...probably a better bet than the '50s type. Bassman Tens have a charm but are limited by a very small output transformer, no amount of valve or speaker swapping can get a quart out of a pint pot. Martin

Maybe this only applies to me so I hope nobody takes offence! In the time that I've been playing the bass I would have to say that I've been most vulnerable to the siren voices of new gear when I've been in a lesser standard of band (the 'do we sound crap because of me?' factor) or between bands. When I've played with better musicians they tend to raise my game and equipment ceases to be as important, obviously within reason. Plus at those times in my life I've gigged so much that the last thing I'd be interested in is tinkering with my gear, purely maintenance only. You start to see these patterns emerge in your life... Martin

I'm no authority, with my 2007 3 eq Stingray (sounds great to me), but I would have thought that the '83 one would have been made after all of the truss rod problems. Wasn't all the woodworking done under licence by Charvel at this point, due to said problems with CLF? It would be the '83 for me, I think you chose well.

Marcus Miller's use of a detuned E string is all over the early '80s Miles stuff (Man with the horn, We want Miles, Star people) yet I've never heard it discussed much...sounds great on 'Jean Pierre' and U'n' I. I've no idea what he'd tune it to, often mid song it sounds like, C perhaps? Mr Dingus will know...

Just got back from doing a trade with Stuart; the amp I've had off him is in spotless condition, hope the Yammy bass gets some good use. Hassle free throughout, a pleasure to deal with. Cheers, Martin

Hello, Have you tried contacting Polar Audio? I reckon they'd stand a good chance of having a replacement as the amp is in production still. Good luck, Martin