markorbit

Just had confirmation that in order to keep the price down at JJ's request (a very reasonable £569 RRP) the on switch has been simplified to a less extravagant switch at the back. And for those that note the similarity between this and the red MK model the preamp on the JJ-500 is voiced to JJ Burnel's preference. Can't wait to try it out.

[quote name='AndyTravis' post='1024173' date='Nov 15 2010, 12:20 AM']The blue Stack Knob is ace.[/quote] The one with black nylons? Mine The 'Herbie'.

I think JJ's original amp was a AL600 or something.... before the MK series came out. I quite like it as I do like a Trace-style 12 band graphic for tone tweaking AND I like the Ashdown VU meter aesthetically. I own a ABM300 head at the moment for backup and giggles but I'm not a huge fan of the sound. This could be more like the old Trace's perhaps. If it had a compressor I'd have been sold even though I'm not particularly on the lookout for a new amp. I would also replace the slider caps with white ones. Still, it's a decent price point I think. Not sure how you switch it on though. There's no big button on the photo.

[quote name='crez5150' post='1020953' date='Nov 12 2010, 07:55 AM']Isn't that just the Mark King head but in Black???[/quote] That's very a very astute deduction! That's pretty much correct apart from a special transformer by the sounds of it.

Just got notice of a new Ashdown bass amp based on JJ Burnel's own amp which I seem to recall is a black AL 600 (I think). There are only 10 available right now from Ashdown's Custom Shop with the production model arriving sometime next year. RRP is £569. Here's the blurb and pic. As a bass legend for the past 30 years JJ Burnel is no ordinary bass player and his bass amp of choice is just as special as the man himself. The AL-JJ500 was developed in conjunction with The Stranglers bass icon with the objective of creating a versatile, rack-mounting bass amp head with a thrilling dynamic range and an ultra-clean fast-response 575 Watts RMS output section. The resulting JJ-500 head has been JJs’ weapon of choice for the past decade. Suitably equipped instruments can be plugged in via a balanced, low impedance XLR input for the ultimate low-noise connection, with a conventional jack provided to accommodate standard instruments. The optimum input level is set by an input gain control, operated in conjunction with a classic, illuminated Ashdown VU meter. Precision tone shaping comes courtesy of a 12-band graphic equalizer, which can be switched in and out from the front panel. Unique to Ashdown Labs is a revolutionary Harmonic Emphasis circuit that actually synthesizes new harmonics which combine with the originals under variable level control to create a stunning extra top-end ‘zing’ – like permanently playing with new strings. The balanced DI output on the front panel can be switched pre and post EQ, and a tuner output with mute switch is provided for silent tuning. The massive, shielded toroidal transformer is custom designed for the Ashdown JJ-500 and ensures a continuous, regulated supply to power huge transients across a wide frequency response. Preamplifier features include low impedance and conventional instrument inputs, illuminated VU meter, Harmonic Emphasis, 12-band graphic EQ, switchable pre and post EQ balanced DI output, tuner output with mute switch, line output, effects loop and speaker outputs on jack and Speakon connectors

I normally prefer La Bellas but I just put a fresh set on a P yesterday and they sound a bit pants! They need to be worn in to take the edge off. Have you tried black nylon? Status, Rotosound and La Bella make a good set of those too if you are into flat territory. I have a worn-in set on a Status S2 and I think they are my favourite strings on it.

Speak to Dave at Electro Music. It will likely need to be ordered but if he can beat a price he will.

I have recently come to the same conclusion. I was pretty much obsessed with obtaining the lowest action possible. I was getting quite a bit of clack which needed precise playing to manage properly. However, I then spent a small fortune trying to buy the warm round sound that I could never get! Years ago (ahem) I would have liked liked the aggressive, fretty sound but tastes change and I now want round, full and warm. I want just one note to sound good and be able to hold it's own. I went too far with the action and after reading about Jamerson and Flowers I decided to bite the bullet and raise it on one of my basses. Suddenly the notes were cleaner, richer and fuller and yes, easier to play. I'd just play without having to worry about digging in too hard. I remembered again how enjoyable it was just to play freely. I would still class my action as low (and I always alter the truss with the action set super low so I can hear the relief of the neck better) but it's not crazy anymore. So I can see where you're coming from, definitely. I'd lost sight of it too.

I have owned two Wals. I bought a used but great condition red ProIIE from the bass center in 1987 for £300. I found the receipt last month. That one was real nice, lovely low action and sounded very electric and growly like Lee Gormans from Bow Wow Wow. I had a Wal Custom in recent years that I didn't like it as much. Still a Wal but these days my tastes have changed and I find them very electric sounding, very active sounding instruments with little natural 'warmth'. It's a different animal to what I like now. I loved that sound in the 80s. Do I think they are worth £3200 plus for a new one? No. I think the new price is a reflection on the used prices we have been seeing in the last 10 years. If I can get say, a new Status S2 for £2200 or whatever from Rob Green I would expect a Wal to be no more than £500 more.

[quote name='Spoombung' post='972164' date='Sep 29 2010, 10:32 PM']I tried one of these out at the weekend. I was really disappointed in it. It was far too distorted for bass (it wasn't mild distortion it was a LOT of distortion).[/quote] That's what I found too. However, flipping one of the switches made things a lot more pleasing as the distortion wasn't so much upfront. I agree though, it's too dirty. I guess that is why it's a Little Bastard.

I have a soft spot of Trace's. They usually sound good! These days I avoid the preshape (as I also do on Ashdowns) as it sucks the mid and things can get cold and clacky. I think all the amps are fine right up to the SMX 12 band with dual compressors. Sure there is a certain signature sound to them but it works for rock/funk very well. I think the pre-Gibson talk is more relevant when talking about the guitar side of things more than the bass. I haven't experienced the newer stuff but I'm not excited by my perception of the build quality or design.

I'm currently rediscovering the joys of the Ampeg SVTIIP at the moment. I have the others too (Pro/CL) but this one is delivering the goods right now through my Berg IP stack. Mine's carrying a couple of Telefunkens and a Mullard. I set the bass control at 3 o clock and with fingerstyle I get a big round Motown-style sound that is VERY warm. The tone is very similar to a lot of 70s disco records when played nearer the bridge - Thelma Houston, Baccara etc. I use an alder/rosewood P bass with flats and a DBX160A after the SVTIIP. It's the closest I've got to an all-valve sound without having an all-valve amp. It's not dirty by any means but the combination is deep, pillowy and beautiful, especially with the Barker mute at the bridge. How good are mutes... Today I would choose the SVTIIP over ANY other bass preamp. When I switch it out for something else and then switch it back the warmth returns. That bass control is just right.

At the risk of sounding like a JJ gear nerd I can add that JJ used Gibson Heavy picks and did indeed switch to flatwound strings for a period around Feline/Aural Sculpture. Prior to the Trace gear and after the valve amps he was using a rack set up with an Ashly SC40 preamp, MXR (I think) 31 band graphic EQ and Yamaha power amps. I remember this rig sounding particularly good live. Snarly but full-bodied with nice mids. He sounds like Burnel whatever rig he's had.

[quote name='Simon.' post='943362' date='Sep 2 2010, 01:40 PM']However, I have to confess to being left utterly despondent on chatting to Guy after the show. I mean, for christ sake, if a player like Guy Pratt is out of work and can't get a gig at the moment, what chance have I got?!! [/quote] You probably have the advantage of being much cheaper Another great session player, Phil Spalding, seems to be branching out into production now. Perhaps the opportunities for real session bassists is diminishing?

A 72 Precision isn't from the 'golden age' of pre-CBS so although desirable, it isn't the holy grail. I've come to the conclusion that - for me anyway - I won't pay sky-high prices for a Precision unless it has clay dots. Keep the better bass.

Definately flats. I'd recommend La Bella 760M for the ultimate fat and furry tone but these are big, thick strings so you may wish to consider La Bella 760FL instead. La Bella's give you that authentic vintage sound like no ther in my book. I'm not sure that I'd agree that the Motown bass sound is all mids... certainly Bob Babbit on Standing In The Shadows of Motown has some deep bottom going on and it sounds great. Playing lightly with fingers over or in front of the pickup will help get you the round, warm tone. A well setup mute system can work wonders increasing the depth and roundness whilst taking out all the things you don't want.

I just found an interview with Guy, and I quote "Pino Palladino told me that as you get older your tone knob creeps down and your right hand goes further up the neck!". LOL. I was wryly beginning to realise that myself recently much to my amusement so that comment really hit home. Guy, did you use Flatwounds with the Floyd?