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nobody's prefect

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Everything posted by nobody's prefect

  1. And the necks are always to die for, so there's something for all the senses!
  2. Well nothing else sounds quite like an MTD, there's a reason they are so popular with church boys. My only MTD regrets are 1) I had SO MANY boutique basses before getting my first MTD. And 2) that I couldn't keep them all As A Gouche puts it: MTD4Lyfe
  3. Oh you sold that one, it was a good one too! Although I think Roscoes were the most consistently superb boutique basses I've had, not a single dud, just great basses one after the other... I seem to have lost the archive of the roughly 100 boutique basses I owned. Would have shared a couple of Roscoe beauties but oh well
  4. Yes... ESL moment there. Living in Sweden is corroding my English. It's the other super addictive substance. That you don't shoot. Rather, one 'shoots' into it, right? Actually, adding to reasons to quit: bandmates doing any illegal stuff. You know, failing to report the full gig pay as income, drinking and driving, or, indeed, buying or selling illicit substances.
  5. Not to sound judgmental, but please tell me you drive first and take substances later? I used to put down a lot of time with a psychoactive substance -- alcohol, in my case -- so I'm by no means a saint, but cars and substances don't mix Edit: Wait, wait, the word you've masked isn't shooting, it's the other thing, isn't it? Reasons to quit bands: having different aims than the rest, not being able to sack the one with a different aim, mismatch of aims and time investment, personality clashes, market just not being there for the band's oeuvre...
  6. There's a Tannoy mid-field mastering monitor and the abovementioned Genelec 1022a and it's successors, can attest to zero mush at monitoring sound pressures.
  7. The amp maker is db. They make very respectable power amps. I know, I know, corporate accounting practices and antitrust regulations mean that they are not allowed to sell their amp modules to RCF under market prices, but, you know, it's not always straightforward to appraise a custom spec power amp module for active loudspeakers... https://www.prosoundweb.com/company/dbtechnologies/
  8. Am I misremembering that at some point, there was a connection or maybe even identity in the ownership of PowerSoft's and RCF's parent companies? This would explain the pricepoint vs. quality. I would imagine it would take a company like Yamaha with a similar horizontal value chain benefits to compete. From their own timeline:1998 "RCF becomes part of an international group until the end of 2003 when previous shareholders take over the company again " I'm probably wrong, but I seem to remember that this corporate group also had a power amp manufacturer and RCF active cabs got a vastly better power amp section during that time.
  9. Had a reply typed, then misclicked. Don't see a reason to be snarky even if I don't swallow marketing hype. RCF offer a good product, they have for years. They have not made a quantum leap out of the weight, cost, efficiency, fidelity field. They are still subject to the conflicting design goals, but yes, the points one is able to reach in the 4-dimensional space are better now than earlier. That's nothing new, materials and processes evolve over time and this has always been the case. I've used them a lot back when I lived in Finland and the spec was 'sound reinforcement that doesn't break the back or the budget.' And RCF and Yamaha were my first recommendations for small-scale sound reproduction. I'm not an engineer, never claimed to be. I'm just a former gearslut. For my back and money, the Acme were a good pick, and having used them, I can recommend them. They are a passive 3-way speaker that have an 'accurate'* response and wide range. Can't recommend stuff I don't use. For gigging, I'd in general recommend passive speaker setups unless you are very sure you can get a replacement cabinet during a weekend in time. Woofers can and will blow on passive and active setups, but that's something that is hard to prep for, unless you have spare woofers with you. The more electronics you have in a speaker cabinet, the more you're subjecting those electronics to wear and tear. The sound reinforcement company I used to work for went with passive line arrays and subwoofers and separate power amp racks, partially for this reason, partially for scaling. A woofer is a much more robust electrical component than most non-mil spec circuit boards. I'm sure there's an absolutely bullet proof and cheap circuit on a board somewhere, because people make knives out of pasta and chocolate, these days. I still think my summary mostly holds: the most relevant stuff is portability and price, many solutions are high enough fidelity and put out enough 'volume' to hurt yourself. I'll add that reliability, replaceability, ease and cost of repair are important, too, depending on where you live. *if very accurate is your goal, then PA loudspeakers are not the right place to look anyway. You want good mastering monitors.
  10. I'm having a brain freeze. What kind of top end are you looking for? A lost of MTD players like and have a very glassy top end that sounds terrible* on a lot of speakers. I like to imagine having had that tone on my best days. Depending on the sort of distortion used I'd imagine your tone is more, less, or about as susceptible to sounding terrible*. I certainly sounded terrible* on all piezo tweeter setups. *and by terrible, I mean 'not flawless'
  11. Have you tried cabs with domed drivers? I like them better than the piezo tweeters.
  12. Oh, dang, missed this aspect entirely. In that case, if you're going to be using the cabs a lot, you'll want to have a decent trial session. I don't believe the tweeter in the RCFs has a settling-in period. (AFAIK all woofers have this to some degree: the suspension needs to be 'softened up' gently before going full bore) I would not believe anyone telling me the RCFs have what we gearslutz call 'listening fatigue' because you don't get that from most setups. But there are different characters within even very accurate monitors. I've had 3 different Genelec near field monitor setups and one midfield (the reference class 1022a Darth Vader things) and while they are very accurate... Quoting a poster talking about mastering on 1022s at gearslutz because he put it better than I could: "When I played my first demo on 1022a, I was shocked. It sounded brutally harsh, ugly and flat. Then I switched to O300, and it sounded pretty ok. I started to listen to some reference records I know, and many of them were horrible on 1022. As an APS Klasik user, I thought they were quite honest and revealing, but 1022 is just another level. Only really good quality records sounded well on them."
  13. https://www.dropbox.com/sh/cqmhk0x9hvd6j39/AADE5jtpPw2KBzZzj9fs3Y2Ca?dl=0 Does this one work? Edited to add: I'll see about recording something, but I haven't played a note since I got ill, so it will sound terribad.
  14. Only checked the spot you recommended. I saw nothing in the way of explanation. They made no claims to have solved the engineering tradeoff between cost, weight, efficiency, and fidelity. Also, it's marketing material Disregard marketing material, go for the tech spec. From what I can see, it's an active 2-way speaker, and they've baked in equalisation to counteract the response curve the drivers and the cabinet create, resulting in a flat frequency response curve in the advertised spectrum. Expecting any passive speaker enclosure to match such a setup is unrealistic. Afaik, only a theoretical model speaker can have a flat response. This does not mean they are being dishonest or doing something underhanded. Genelec and other studio monitor makers have done this for decades, and it's the only way to get a very flat response curve: use equalisation to counteract the unevenness all existing drivers and enclosures by necessity have. The curve I saw in their own materials does not put Genelec to shame, so we know it's probably a good compromise between fidelity and roadworthiness. I'll amend what I wrote and say, instead: Regarding fidelity, the higher price of the RCF includes a power amp and built-in equalisation, resulting in a fairly flat response curve between 45 and 20k Hz, while the Acme Low-B2 goes deeper, but does require a power amp to drive it, and probably requires equalisation to match the flatness of the RCF. In practice, I imagine few will benefit from either the extra flatness of the RCF or the deeper low end of the Acme. NB the video does show the RCF responce falling off a cliff under the advertised response spectrum, not that every driver / enclosure known to man doesn't do that.
  15. Well, in engineering, you mostly have tradeoffs. You can't make a car with an internal combustion engine with the performance and mileage of a Tesla Model S, or make a car with the performance of a Ferrari, capacity of a lorry, and the mileage of a Honda Civic. Let's see: the RCF 745A is, compared to the Acme Low-B2: *more expensive *considerably bigger *louder. Much louder. It's impossible to say one way or another regarding the fidelity. Acme docs state the freq response to be "Frequency response: +/-3 dB 41Hz to 22 kHz -6 dB at 31 Hz" While RCF says: 45-20000 Hz and the curve shown in the specsheet makes me speculate the RCF -6dB frequency is likely the 45Hz stated. The customer is left with assigning value on the different engineering goals and choosing the product where those goals are pursued at the expense of others.
  16. I stopped reading there. I've been very satisfied with my Acme cabs since I got my first Low-B2 pair back in 2005. Since power now costs nothing, the downside of the Acmes is more or less negated. Even the Peavey IPR I used was very good (and light) so you don't have to go for the big bucks Crests, Powersofts, Demeters etc. http://www.acmebass.com/mobile/index.html#page3 On the other hand, I know other companies have also produced very high-fi, very portable cabs in the 13 years ( ) since, but back then, the alternative was Eden, SWR, or Euphonic Audio. I liked the electrical engineering approach that Andy has. I have engineers in the family and I learned to go for the tech specs, never mind the marketing.
  17. Dean Markley SR2000, don't know if the gooch still uses them, but he used to. The only strings I ever used when I played MTDs. Fodera strings are very good, but I did NOT have success with the Anthony Jackson strings on an Anthony Jackson contrabass guitar. But the regular Fodera stainless steel strings are wonderful.
  18. Bump. I've been seriously ill. I'm just now getting back to working half time. I'd take 1300 quid for this bass and I've certainly never bought or sold any bass that was more bang for the buck.
  19. bump, it's been sitting in its rack, I've been ill.
  20. Mint condition, bought this just before I stopped playing live. It's the older yellow-black finish. Asking price includes shipping to most European locations.
  21. Little gigged, light, powerful. This is not the DSP version. Externally in mint condition, and I've never pushed this unit!
  22. Bought this unit here, it's given me good service, but it's time to sell my stuff. Here is the FS thread from back then: http://basschat.co.uk/topic/221815-parsekmarkbass-k1p-rack-preamp/ Features: 1) Selectors for the input gain 2) Inputs 3) Input mix 4) Gain 5) Gain leds (red if the input is clipping) 6) Pre-post selector 7) DI level 8) Lows 9) Highs 10) Filter on/off 11) Parametric eq. frequency selector 12) Q 13) Center frequency selector for the parametric eq. 14) Selector for the parametric eq. (100hz-1khz or 1khz-10khz) 15) LVR filter 16) LVR filter on/off 17) Master volume 18) Output clipping 19) Cut frequency selector for the crossover 20) Headphones out Parsek is the name of the LLC that owns the Marbass brand and was their first brand, and there's a strong markbass sound to this preamp. Here's an interview from the designer of Markbass and founder of Parsek http://www.instituteofbass.com/archive/product_spotlight/markbass/ Here's a page at Markbass where you can see a vestigial reference to Parsek http://www.markstore.it/about In worn condition. Would ideally sell with the rack and my Peavey IPR1600 poweramp.
  23. EDIT: very probably sold my TRB 5-II, so this one gets to stay, hurray! I ordered this a few years ago and it's in mint condition. Sasha builds instruments for some of Finland's best players, and our starting point with this bass was 'Fodera AJ 6 contrabass guitar meets 60's jazz bass.' So he looked very carefully at the AJ6 I had, and the neck is a fairly direct copy. The body is thin and comfortable. Specs: 36" scale, 21 frets 20 mm spacing at the bridge Bolt-on maple neck, AJ profile. Slim C that is fast but not flat or uncomfortable at all. Great for long sessions. Brazilian rosewood fretboard (which you can't get any more due to CITES) Flame alder body, dried 30 years Flame maple top Hipshot ultralite tuners (I hatehatehate neck dive, there is none) Electronics: Aero one-off custom pickups. Coil splittable so that you have coils in the same proportional positions as a 60s jazz bass. We asked the Aero guy to make the pickups imitate AJ tone in humbucking mode and 60 JB in single coil mode and he asked for every spec on the bass and wound the pair for this bass. Used a single pole piece for c string for evenness of tone. He is the sh*t. Pope flexcore pre-amp. Really clear. I like this the best of all pre-amps I've had. Why am I taking a bath and moving this on? Life changes. I'm now living in a different country and play no music. I have no living space. I don't expect to join a band or take on gigs, as I have no free time for the next few years, and will be busy learning a new profession where I'll be playing catch up to my younger colleagues the rest of my life. Who is this bass for? Someone who likes jazz basses, AJ ergonomics and tone or just wide spacing and even response from string to string in a six. Really easy to play. Trades? Not really souped up about those, but market realities yadda yadda. I'm not looking for an instrument for my own use, so pretty much anything goes. Photos: https://www.dropbox....P6TodDGxsa?dl=0
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