molan

I've owned a few stackers but generally find them too fiddly to work with on a gig. All I ever need is a either a bit more bridge or a bit more neck from a pickup control and find vol/vol a bit of a pain. Having a single master tone control is also a lot more useful for me than an individual one for each pickup.

I have to admit that I saw the Glasto coverage last year and found it hard to watch because I thought the bass parts just sounded 'wrong' I think Nile R is amazing, one of my favourite guitarists ever but this current version of Chic sounds a bit like a covers band to me (albeit a very good one!).

Great song never heard this one before

I've been on holiday but back today Bass Player Magazine just published this which sounds really interesting: [b] [size=4][b]Luxembourg is a small Western European nation bordered by[/b] France, Belgium, and Germany, with the world’s second highest GDP per capita. While interesting in that it is the last remaining [i]grand duchy[/i], (a territory whose head of state is a Grand Duke), it wasn’t until recent years that the land-locked country gave bass players much to think about. But in 2009, Luxembourg-based Ruppert Musical Instruments introduced the Basswitch IQ DI pedal—a serious studio-grade preamp/multitool in pedal form—and the company is now capturing our attention with three new mini-pedals focused on superior audio, smart design, and mechanical integrity.[/size][/b] [color=#333333][font=Arial, Helvetica, sans-serif][size=3] [size=4]All Basswitch pedals are built around Lehle True Sound Technology, a process in which the incoming voltage is internally rectified, filtered, stabilized, and regulated to 18 volts. The resulting headroom provides increased clarity and improved peak handling within a wide dynamic range. The high-quality Lehle buffer has an overall conditioning effect on the signal, and sends a clean, low-impedance signal downstream when placed at the front of an effects chain. Top-quality components are used throughout, so the Basswitch pedals are built tough enough to protect their precious innards. The Lehle footswitch mechanically isolates the foot pressure on the actuator button from the internal effect switch, while highly conductive gold-plated relays and switches improve signal transfer and reliability. Basswitch pedals are housed in a pedalboard-friendly steel case with recessed controls to prevent accidental setting changes, or broken pot shafts. All three pedals provide enough gain to drive a power amp, and their high impedance inputs accommodate a variety of pickup types.[/size][/size][/font][/color][color=#333333][font=Arial, Helvetica, sans-serif][size=3] [size=4]The Clean and Classic Boost pedals are three-band EQs with the same controls, and closely related frequency specs, but each with a signature sound that reflects its moniker. The Clean Boost claims the neutrality of a studio preamp, with the bass centered at 40Hz, mids at 640Hz, treble boosting at 5kHz, and cutting at 10kHz. The Classic Boost has more tone coloration, and could be described subjectively as sweeter than its sibling, but other than plus-or-minus a few dB in the mids and highs, the only significant difference is the bass control being centered at 45Hz.[/size][/size][/font][/color][color=#333333][font=Arial, Helvetica, sans-serif][size=3] [size=4]The Sonic Spark shares the same housing as the Boost twins, but is a completely different creature. While equally effective as a preamp, the Spark combines EQ with a harmonic overtone generator to create the fatness of tube response, in varying stages of drive. The ENHANCE knob controls the amount of overtones introduced, ranging from lightly toasted to fully charred, while the INTENSITY dials in the amount of EQ in the signal. The BRIGHT/DEEP control is a powerful, yet simple global EQ.[/size][/size][/font][/color][color=#333333][font=Arial, Helvetica, sans-serif][size=3] [size=4][b]BOOSTY A[/b][/size][/size][/font][/color][color=#333333][font=Arial, Helvetica, sans-serif][size=3] [size=4]I tested each pedal as a front end for a Carvin DCM 2000 power amp driving a Greenboy Fearless F112, as well as in-line before a variety of amps. Unfortunately, the trio lacks balanced xlr outputs, but Basswitch tells us it will introduce larger, DI-expanded versions of these pedals at some point. Whenever something is labeled “Classic,” my thoughts immediately go to passive Fender basses. I plugged my ’73 P-Bass strung with 17-year old LaBella Flatwounds into the Classic Boost first, and whether it was the placebo effect or the buffer, the tone seemed smoother even before I activated the switch. Turned on, the Classic added a distinct roundness to the tone, giving the impression of a tube preamp/EQ. The lows were perfectly tuned to fill out the bottom, and avoided severe masking of the mids even when dialed close to maximum. The highs boost at 5kHz, but cut at 10kHz, so even with an extreme roll off, enough mids come through to define the attack. With the bass boosted, and treble down, I was in deep with a thick, punchy tone that would fit right in with ’60s R&B. The mid control worked nicely for bringing out more detail in the fingerstyle tone, but really accentuated pickstyle articulation with warmth, and clarity. Switching over to the Clean Boost with the same settings, I immediately heard the difference. Compared to the Classic, the Clean Boost sounded more open, and the lows seemed wider and less punchy with that particular instrument. It wasn’t bad by any means, but the Classic seemed more in line with the character of the old P-Bass. I switched to a G&L L2500 in active mode and the pedal started making sense. The Clean Boost seemed well-suited to the extended high frequency response of the G&Ls massive MFD humbuckers, and the pedals lower frequency center added depth without mud all the way down to the B string. For one more comparison, I plugged a Carvin Vanquish V49K in passive mode into the Classic Boost and dialed up a nice round fingerstyle tone. The Alnico single-coil pickups sounded right at home in the cozy, tube-like environment, and I easily tailored the effect for a killer slap tone. But when I activated the onboard preamp set flat, the highs of the slap tone felt constrained and a bit harsh. Switching to the Clean Boost, the highs on the V49K seemed to open up, and string popping had a more pleasant tone. The 40Hz-centered bass control brought out a little more thump when I slapped the E string, providing a balanced overall tone.[/size][/size][/font][/color][color=#333333][font=Arial, Helvetica, sans-serif][size=3] [size=4][b]SPARK ONE UP[/b][/size][/size][/font][/color][color=#333333][font=Arial, Helvetica, sans-serif][size=3] [size=4]The Sonic Spark looks simple, but read the manual to get the big picture—the interactive nature of the controls is not immediately intuitive. As directed, I set the Gain level first with the Enhance control in the fully counter-clockwise off position, and the Intensity control maxed. Default position for the Bright/Deep knob is 12:00, but I rolled it down to the bottom right away out of principle. Increasing the Enhance control brings out higher overtones, starting with a gentle buzz at lower settings that becomes a tube-ish break up toward the middle. By the time you’ve maxed the control, it’s pretty thrashy. Caution is advised when mixing high amounts of harmonic material and gain, but ran full-bore with a deep EQ setting, the Sonic Spark turned my ultra-clean reference rig into a snarling beast. The sweep of the bright/deep control made it easy to find the EQ sweet spot, and dialing back on the intensity reintroduced the clean signal for a more balanced effect. With more conservative settings, and a healthy dose of gain, I got a buttery thickness with a slight edge that transformed my humble semi-hollow Eastwood Classic 4 into Jack Casady’s Alembic-modified Guild Starfire. While the Sonic Spark behaved well as a preamp, it excels in a pedalboard as a character-shift or drive. In fact, the pedalboard may be the best place for all the Basswitch babies as the internal components require an external power supply. I put the Sonic Spark in front of an effect chain consisting of: an MXR Bass Compressor, into an EHX POG II, followed by an MXR Analog Chorus, a TC Flashback, and then into a TC Hall Of Fame Reverb—all ran through the effects loop of my Genz Benz Shuttle 9.2. Having swapped the Spark for my usual first effect, a TC Polytune, I heard an instant improvement in the overall signal, even before I turned it on. There was less noise, and my EMG-equipped Lull MV5 had the silky vibe of a studio mix. Sparked up with the Enhance control set low and the EQ toward the deep end, silk turned into burlap, and gave the MV5 a rough-hewn presence. Cranking the overtones in front of the MXR Comp, I got enough sustain and drive to steer the POG II toward Scott Henderson/Gary Willis turf. I’m hooked.[/size][/size][/font][/color][color=#333333][font=Arial, Helvetica, sans-serif][size=3] [size=4]The Clean Boost is a versatile EQ/pre that handles the signal with accuracy, and wide-open dynamics, while its close relative the Classic Boost offers a nostalgic reference back to the days of tube processing. The Sonic Spark is great for general tone fattening, and scary good at summoning up the grunt of a hot, cranky lead-sled.[/size][/size][/font][/color][color=#333333][font=Arial, Helvetica, sans-serif][size=3] [size=4][b]SPECIFICATIONS[/b][/size][/size][/font][/color][color=#333333][font=Arial, Helvetica, sans-serif][size=3] [size=4]RUPPERT MUSICAL INSTRUMENTS[/size][/size][/font][/color][color=#333333][font=Arial, Helvetica, sans-serif][size=3] [size=4][b]BASSWITCH CLASSIC BOOST, CLEAN BOOST[/b] [b]Pros[/b] Hi-fi quality, well-tuned EQ [b]Cons[/b] None [b]Bottom Line[/b] Great sounding, flexible preamps with a small footprint.[/size][/size][/font][/color][color=#333333][font=Arial, Helvetica, sans-serif][size=3] [size=4][b]BASSWITCH SONIC SPARK[/b] [b]Pros[/b] Classic tube fatness in a can [b]Cons[/b] None [b]Bottom Line[/b] A flexible way to add thickness and drive to your sound.[/size][/size][/font][/color][color=#333333][font=Arial, Helvetica, sans-serif][size=3] [size=4]SPECS[/size][/size][/font][/color][color=#333333][font=Arial, Helvetica, sans-serif][size=3] [size=4][b]BASSWITCH CLASSIC BOOST, CLEAN BOOST Input Impedance[/b] 2MΩ [b]Output Impedance[/b] 150Ω [b]Frequency Range[/b] 30Hz–150kHz (+1/–3dB) [b]Distortion[/b] 0.002% [b]Signal-to-noise Ratio[/b] –96dB @ 1kHz [b]Max Gain[/b] ±15dB [b]Controls[/b] BASS, MID, TREBLE, GAIN [b]Jacks[/b] ¼" in & out [b]Power[/b] 9–15V AC or DC (no adapter included) [b]Dimensions[/b] 5.8" x 2.3" x 1.7" [b]Weight[/b] 0.85 lb [b]EQ[/b] Clean Boost: BASS ±17dB @ 40Hz; MID ±13dB @ 640Hz; TREBLE +13dB @ 5kHz, –13dB @ 10kHz Classic Boost: BASS +15/–11dB @ 45Hz; MID ±12dB @ 640Hz; TREBLE +10dB @ 5kHz/–12dB @ 10kHz[/size][/size][/font][/color][color=#333333][font=Arial, Helvetica, sans-serif][size=3] [size=4][b]BASSWITCH SONIC SPARK Input Impedance[/b] 3.2MΩ [b]Output Impedance[/b] 58Ω [b]Frequency Response[/b] 20Hz–75kHz (+0.5/–3dB) [b]Max Gain[/b] +14/-15dB < 1% THD, 1kHz [b]Controls[/b] INTENSITY, BRIGHT/DEEP, ENHANCE, GAIN [b]Jacks[/b] ¼" in & out [b]Power[/b] 9–15V AC or DC (no adapter included) [b]Dimensions[/b] 5.8" x 2.3" x 1.7" [b]Weight[/b] 0.85 lb[/size][/size][/font][/color][color=#333333][font=Arial, Helvetica, sans-serif][size=3] [size=4][b]Made in[/b] Germany[/size][/size][/font][/color]

[quote name='Billy Apple' timestamp='1412932570' post='2573362'] I think retailers would be singing a different tune if he did. [/quote] I'm sure they would. Some people will stock anything if they think ti sells and they can turn a profit

[quote name='CamdenRob' timestamp='1412929334' post='2573314'] The handle wouldn't bother me as much as the honky mid range would... [/quote] Totally agree - it's this that is my least favourite aspect. Can get really harsh and nasal sounding at volume

[quote name='Billy Apple' timestamp='1412930978' post='2573330'] I wonder if you'd be saying this if you were selling them in your shop? Perhaps then you'd be highlighting the weight and aural delivery. [/quote] It's a personal view and not a shop one Sean. Although we do have a 'quality threshold' in the shop and there are some brands we won't stock (even in PX) because either they have build quality issues, poor customer service reputations or simply don't sound very good. This sometimes means we have to turn away business but we really try hard not to stick things we don't believe in.

[quote name='Beer of the Bass' timestamp='1412892905' post='2573182'] I think he means that Alex C. was posting build threads on basschat about his DIY cabs some time before he thought of gearing up to sell them to people. With a quick search of the forum, you can look right back to when it was just a guy building himself a cab, through being a part-time hobby business, right through to employing people and moving production to CNC. Looking back at those old threads, I was amused to find that the reservations about strap handles and painted finishes pre-date a single cab being sold! [url="http://basschat.co.uk/topic/46773-the-birth-of-barefaced/page__view__findpost__p__232933"]http://basschat.co.uk/topic/46773-the-birth-of-barefaced/page__view__findpost__p__232933[/url] [/quote] I think I see where you're coming from but didn't get the TKS reference. It always feels to me that people are way more accepting of the often poor fit and finish of UK suppliers than they are of overseas ones. If the UK stuff was cheap then I guess I could understand it but when it's the same price but not anywhere near as well finished then I always end up scratching my head in amazement.

[quote name='Chienmortbb' timestamp='1412888379' post='2573116'] Surely TKS are introducing product now in the UK but are established in Sweden. We did not witness TKS's growing pains whilst we damn near saw the Placenta with Barefaced. [/quote] I don't understand what you mean I'm afraid

[quote name='stingrayPete1977' timestamp='1412875946' post='2572925'] Think what you like, I have long since given up trying to please everyone and anyone who knows me knows I have no chip on my shoulder. All I am seeing is you stirring it up, the posts in the other thread were about high end Fenders and their construction, this one is a high end Fender that is below par IMO hence the relation of the threads. In fact the other thread was not even about Fenders it just got trolled and trashed by Fender fans as the bass in the OP was Fender shaped. I believe there is a block function? feel free to use it [/quote] Well if you think taking a pop at another person in an irrelevant way and suggesting that people have 'hit lists' that you are on doesn't suggest some problems with a chip on your shoulder if people don't agree with everything you say then, for the first time ever since I've been on this forum, I will indeed take your advice and use the block function. Maybe if you manage to wind enough people up like this you'll effectively have the whole place to yourself as no-one will see what you're posting. . .

[quote name='stingrayPete1977' timestamp='1412804288' post='2572352'] Well he said I pissed him off but "never again" so either I am blocked or he is going to bump me off The reason I bought it up was because it is related due to the 3 piece body, the bass in the picture has one hence the association, I thought that was quite clear, maybe not? [/quote] Sorry Pete but that's a poor excuse to take a cheap shot at another forum member - his views about your comments in another thread bear no relevance to this one. Sounds like there's a bit of a 'chip on shoulder' syndrome going on here

I saw Maceo about 3 years ago at the Jazz Cafe in Camden and he was excellent. Skeet Curtis was on bass a seriously good player

[quote name='stingrayPete1977' timestamp='1412799210' post='2572263'] I ended up on Karlfers hit list for suggesting things like my single piece slab ash body on my musicman classic or in that case a Lakland being better than Fenders like this, he said that im a knob for not adding a IMO, who would prefer that 3 piece body for tone or visual reasons? As for modding it its nothing that special is it? I have a john east pre in my ClassicRay, I guess some people would have winced as I unsoldered the factory wires on a £2200 bass but its my bass [/quote] Do you seriously think people here have a 'hit list'? Surely not? Also, even if they do, then stirring things up on a completely unassociated thread isn't really necessary

I've had to get rid of gear that I simply can't carry any more and it's always 'hurt' to do so I had an Aguilar DB750 with a matching DB410 that I absolutely loved but I simply couldn't carry the cab more than a few paces and even the amp was killing me. My Demeter head now works perfectly for me because it has all the time I want, looks pretty cool and comes in a small lightweight package. I'm using it with a little Bergantino AE210 which is a great cab but it's right on the cusp of what I can easily manage so that might be my next big decision. . . Putting a really nice pedal in front of the MB might work for you but it could be that selling both and starting afresh might be a better long term option. More hassle but think of all the fun you'll have choosing something new

[quote name='discreet' timestamp='1412715137' post='2571370'] I assume you mean 'nut' - unless you're just arsing around... [/quote] Maybe the black butt goes with the 'danny http://www.urbandictionary.com/define.php?term=jack%20and%20danny

[quote name='Twigman' timestamp='1412676041' post='2570882'] Miidgets need a LOT of watts.well my new super midget does... I recently got a super midget so i could go to rehearsals in my GT86! What an extravagence. My GB Shuttle9.2 has to be cranked much higher to get the volume I get from my S12T. I fear if i'd had anything with fewer watts than the 9.2 (500W @ 8ohm) then the super midget would not achieve required volume [/quote] I remember Alex recommending the Carvin B2000 head to go with his cabs

I think one of the things that differentiates China from many of the other far eastern, cheap labour, markets is that they are able to embrace production from the very lowest super-cheap, poorly made, badly finished products right up to very high quality mass market items. At the moment 'made in China' doesn't have a strong differentiated brand image other than maybe low cost production. Whereas 'made in Japan' is usually associated these days with much higher quality. Although, interestingly, there's still a throwback in attitude on MIJ products - 'made in USA' instruments are always easier to sell than MIJ even if the Japanese equivalent is of higher build quality

I definitely got the impression that EBS wanted to shift boxes and move to the 'high street' rather than maintain high quality. Could just have been the sales rep I encountered at Messe though. I see that TC electronics are up for sale now so it'll be interesting if the founders are going for a 'take the money and run' approach (for which I don't blame them on bit!). I guess my surprise with EBS was that they always seemd such a classy brand and had a strong image which they appeared to maintain both through the product range and in all external communications (something which can't be said of TC)

[quote name='mrn1989' timestamp='1412637066' post='2570733'] Thanks, are you a shop? If so shich one and whereabouts? [/quote] I work part time at BassGear in Twyford, near Reading. It shows up in my signature but I think it's invisible if you're accessing via mobile - sorry about that, I always forget!

Every 'name' bass player I've met has been friendly and chatty, even Adam Clayton We meet a fair few through our shop and at various trade or consumer events and they seem universally nice people. Having worked in movie promotion for a good few years I'm afraid the same cannot be said of Hollywood celebs Mind you, some of the movie people are frightening workaholics and super-professional. Arnie really is a machine when it comes to promoting his movies!

Have they dropped the full Jack & Danny name and re-branded as simply J&D now? Definitely a good move - I could never see past the rhyming slang. . .

NY121 is 4" or so shallower than the 121H so it won't really work underneath it. However it's exactly the same width so the top front plastic cab protectors will interlock perfectly. From the front people won't see the difference in depth So it'll just look like a 2x12 rig. You might want to cut the piezo in the NY as the horn in the 121H is higher quality and sounds nicer. Only real downside I can think of is that your amp control is in the 'middle' of the rig rather than on top. We haven't had this set up in the shop but we have tested a 121P combo on top of a 121H cab (which is more or less the same thing) and it works really well as a complete rig. If you're anywhere near us we should be able to get an NY121 for you to try with your combo at decent volume to see how it sounds