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lineboss58

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  1. I have a couple of hartke 1x15 cabs with 1k drivers in, very light and portable, use one most of the time unless its a big venue then one each side of the stage.
  2. I have a couple of hartke 1x15 cabs with 1k drivers in, very light and portable, use one most of the time unless its a big venue then one each side of the stage.
  3. I dont think it is necessary to have the whole rig valve, what i mean by that is that any amp has a preamp and power amp stage. But they can be separated you could have the preamp transistor and the power amp valve or the other way round. At one time or another i have had all the combinations, i have now settled on a valve preamp and transistor power stage, I use an ampeg preamp and a 2k digital power amp, i find it gives the warmth and consistency for the tone i prefer. Some people would say why do you need that kind of power on stage, its not the power but the clarity i require large amounts of head room. many dont realise that turning up the low eq on a rig uses lots of power and you can go into clipping very quickly. If you use a compressor you start loosing dynamic range as the low end drives the threshold into tripping, so i get the tone i want in a very compact and portable rig.
  4. [quote name='thegreenman555' post='1218880' date='May 3 2011, 05:29 PM']Me too, but the cash crisis I thought would abate, just keeps on rolling on. Make me an offer![/quote] Sorry to hear about your crisis, is this bass still for sale.
  5. My first bass was a 1965 vox jmi clubman short scale made out of plywood, i still have it bit of a mess but it still plays. 74 Rapier 63 Burns vistasonic 76 Gibson Thunderbird 72 Checkerboard Rickenbacker 4001 62 Fender precision 2002 Yamaha TRBII 6 string bass 62 Burns vistasonic 63 Burns vistasonic 76 Cairns custom built jazz bass twin neck 2008 Fender jazz bass made from parts off ebay 78 Ovation magnum 1 74 Travis Bean TB2000 The last eight of these i still own, i restored them all this year to full working spec.
  6. I found when the S1 to be quite good but thought without it the bass sounded naff a bit weak, looks like a lot of others think the same but i dont think it sounds like a precision.
  7. [quote name='umcoo' post='313318' date='Oct 23 2008, 09:20 PM']Thoughts on this? Lake Placid Blue or CAR body from ebay (off the stratosphere probably) Warmoth Tele bass neck with rosewood board Wizard Pickups Schaller tuners Gotoh 201 bridge Any tips, advice, 'don't do it'!!!'s, or general statements?? I already have a Gibson g-3, but the jazz seems to be luring me for some reason.[/quote] I did that last year got all the parts off ebay, make shure you get the neck and body from the same place unlike me. I have a three mm gap at the end of the neck pocket, but the whole thing rings like a bell. Its fitted with fralins which sound nothing like a fender jazz pickup but has a tone all its own, they go higher than any passive bass pickup ive ever heard. I would recommend it to any bassist to try you can get all the info off the net if you dont understand something, and remember it will end up the way YOU want it.
  8. [quote name='gareth' post='258847' date='Aug 9 2008, 02:45 PM']Good point. The other thing to remember with 70's precisions is that grey bottom pick-ups were used throughout - so even less area for differences between early and late 70's precisions. I've been lucky enough to try precisions from 73 to 81 - all have the grey bottom pups and all sound great, some of the later ones are 1-2 lbs heavier, I can't see much difference in the QC between them. Probably when talking about 70's fenders, we should should differentiate between precisions and jazzes - personally I don't care for the 3 bolts, bullet truss rod 75 onwards jazzes - and this maybe is the real area where fender QC failed from the mid'70's on with loose fitting/unstable necks, etc[/quote] I would avoid anything after 73 i dont like the three bolt necks, i remember them coming out and could feel the necks moving. I think also the weight started to creep up during that decade, not an issue with me but for some it could be. I have a jazz and a precision and love them both, fender made some good stuff you just have to look for it.
  9. [quote name='OutToPlayJazz' post='277438' date='Sep 4 2008, 11:01 PM']Lovely looking bass, Ady! Back in the mid 90's I had a Nathan East TRB-5 (wish I'd never sold it!) & now have a non-piezo TRB-6 II which I wouldn't change for anything! Excellent score, mate.[/quote] You are quite right the TRB6-ll are nice basses but benefit from being used with a big rig, otherwise they tend to chew up smaller amp setups.
  10. Joe Perry of aerosmith is a lefty playing right handed, i have played in bands with drummers who are leftys buy play right handed kits. Also rightys playing left handed kits, its a funny old world and no mistake.
  11. Yes i use the tone and volume controls on all my basses, i set the amp up as flat and as loud as i can then conrtol everything from the guitar.
  12. I got the chance to put together a few bits of gear i have had floating about for a while now for the first time. An ampeg BS preamp a brooke siren modular crossover driving a boogie strategy 400, one side drove a 15" bass speaker for lows and the other drove a 12" bass unit for the highs. The clarity was amazing the family said i was causing the widows to rattle from the garage i was in, its not a very practical rig but it was fun, anyone else use a biamped rig out there?
  13. [quote name='warwickhunt' post='278692' date='Sep 6 2008, 04:32 PM']With regard to what it is worth, I wouldn't expect to be getting the mortgage paid off with the funds An old guy that lives down from me knows I play bass etc and brought by this guitar which he'd been told by someone in a guitar shop was worth (and I quote) "a small fortune". The poor old sod genuinely expected to realise 4 or possibly even 5 figure sums; unfortunately it was a tatty unloved example (neck was twisted, fingerboard lifting and it had no pup or electrics) of an obscure Italian make that research revealed might be worth £300-£600 if it was in mint condition. He left me muttering about going to see an expert in London, tried to explain that the guitar sale wouldn't cover the cost of a sandwich on the train never mind his train fare. I'm not trying to urinate on your bonfire but 'sometimes' people get very excited by rare and unusual finds and expect the kind of figures that get bandied about in the press for *star's* guitars. Saying that, I'd certainly expect you to get a couple hundred quid for it but then again... I'm no expert [/quote] So right it looks like mid seventys example i remember that style of his when it came out, i used to hang around the shop a lot as a kid so got to see a few of the guitars he made. Jim has never been a high output kind of guitar builder and some of the runs of models he has made are only in the tens rather than hundreds. I think it would be fair to say that there is a big gulf between the instruments he built at the begining of his career and the stuff he produces now. I have an instrument he made for me in 76 and one he built for me three months ago and they are like chalk and cheese, he is a great guy to talk to and now is concentrating on building acoustic guitars.
  14. I only have a few basses compared to the serious people on this forum. 62 Fender precision 62 Burns vistasonic 63 Burns vistasonic 73 Fender jazz bass 76 Cairnes custom twin neck 98 Yamaha trb2/6
  15. I have seen a burns 62 vistasonic bass for sale the owner wants £1500 for it, have people lost the plot or what. Even if the guitar worked and was pristine you wouldnt get that for it, why do lots of the music population think that because something is old it must be worth a fortune? I have two of these instruments a 62 and a 63 and wouldnt expect to get anymore than £500 each for them, i just laugh when i see this kind of thing.
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