72deluxe

What's the BT210TS cab like?. Is it 400w into 8ohms continuous?

Not sure how you'd lock up a bass with a chain though?? You could just slip the bass neck through the chain loop with ease. But bring one nonetheless and we'll give it a go. Should be fun.

I'll best actually do some practice then! The only problem is that I may run off with it? If someone could assist me with distracting GrammeFriday, that'd be much appreciated. Thanks in advance.

Hmmm not sure. Since I sold my Fender etc., there's a choice from various FNA Jazzmen + Corvette, a Star Bass Pro 5, and a 1990 Dolphin Pro II (sounds insane for slap, tis a 4 string). Which would people prefer? Marillionred's $$5 is a bit like the FNA Jazzman but with two soapbars on it (crazy right?). Plus, his is a proper Dolphin! I am not sure if there is a ban on slap this time? Can anyone confirm?

Thanks to GrammeFriday's reminder about this event, I'll be there. And to play his AG5 again (if he doesn't mind), that's an insane bass. I will be super interested to see Marillionred's gear - the Dolphin and modded $$5 particularly. [color=#282828][font=helvetica, arial, sans-serif][size=3]1. Si600 - GK MB500 Fusion, GK MB212 (house rig), Fender P V.[/size][/font][/color] [color=#282828][font=helvetica, arial, sans-serif][size=3]2: Roland Rock - Avalon U5, Crown power amp, BF STwin. W&T Ergon and 78P if I get the refin done in time. Some pedals.[/size][/font][/color] [color=#282828][font=helvetica, arial, sans-serif][size=3]3. tauzero - perm a few from Sei Original, Status Series 1, Antoniotsai, Dean 10-string, Warwick Thumb, Mrs Zero.[/size][/font][/color] [color=#282828][font=helvetica, arial, sans-serif][size=3]4. Dread Bass - Lefties - ACG 6 and 7 string Recurve S Types, ACG Krell Fretless If Ready, Alembic Epic, Warwick Fortress, Letts 6. Aguilar rig if needed.[/size][/font][/color] [color=#282828][font=helvetica, arial, sans-serif][size=3]5. seashell - MIM Fender P[/size][/font][/color] [color=#282828][font=helvetica, arial, sans-serif][size=3]6. Prime_BASS - whatever bass is the flavour at the time, ACG 33" graft J type.[/size][/font][/color] [color=#282828][font=helvetica, arial, sans-serif][size=3]7. Len Derby - Yamaha Bex semi acoustic, Roland micocube battery powered practise/busking combo[/size][/font][/color] [color=#282828][font=helvetica, arial, sans-serif][size=3]8. Bottle - Modded Ibanez GSR-180, some pedals, Line-6 Combo and the 1x12 + Amp rack[/size][/font][/color] [color=#282828][font=helvetica, arial, sans-serif][size=3]9. Marillionred - Warwick Streamer $$5, Warwick Dolphin SN5, Letts fretless 5, Michael Kelly Acoustic 5, Warwick LWA1000, Barefaced Big Baby 2 - and some headphones.[/size][/font][/color] [color=#282828][font=helvetica, arial, sans-serif][size=3]10. Jabba_the_gut - some of the stuff below....if it's finished in time.[/size][/font][/color] [color=#282828][font=helvetica, arial, sans-serif][size=3]11. GrammeFriday - MTD 535-24 fretless, MTD Kingston AG5, TC RH750, RS210 and/or RS212.[/size][/font][/color] [color=#282828][font=helvetica, arial, sans-serif][size=3]12. Kev - Wal MK2, Warwick SSII and some pedals.[/size][/font][/color] [color=#282828][font=helvetica, arial, sans-serif][size=3]13. Bradwell - MIJ Jazz, Ibanez GSR 206, Eden WT800 + D210/D212 XLT cabs [/size][/font][/color] [color=#282828][font=helvetica, arial, sans-serif][size=3]14. Mojo - Yamaha BB414, TC Electronic BG250-115 [/size][/font][/color] [color=#282828][font=helvetica, arial, sans-serif][size=3]15. Norris - Stagg EUB, Ric 4003, Gibson Thunderbird ... and if restored in time I'll bring my Aria SB-1000[/size][/font][/color] [color=#282828][font=helvetica, arial, sans-serif][size=3]16. TG Flatline - Shuker Explorer, pedals[/size][/font][/color] [color=#282828][font=helvetica, arial, sans-serif][size=3]17. Cytania - Spector Legend 4, Spear S2.[/size][/font][/color] [color=#282828][font=helvetica, arial, sans-serif][size=3]18. Chairleg. 1972 Fender Musicmaster. A P bass shaped thing of dubious parentage.[/size][/font][/color] [color=#282828][font=helvetica, arial, sans-serif][size=3]19. Kaz -Roberts skeleton [/size][/font][/color] [color=#282828][font=helvetica, arial, sans-serif][size=3]20. 72deluxe, Genz Benz STLMax 9.2, 4x10 cab? An assortment of Warwick basses[/size][/font][/color]

OK, some updates. I asked around for some prices but will have to hold off until I've got some more funds. I am unsure whether to get the work done because it isn't tooooo badly beaten up. One thing I will have to do is change the hardware to all matching I think, but funds must rise first. I haven't even changed the strings or cleaned it yet but the sound is nothing like any of the other Warwicks that I have! It's great! The bridge pickup leads to a really really thin raspy tone but given a bass boost on the preamp, it can be made to sing. In case you are interested in the variety of sounds, I posted a video demo of it in a topic here ([url="http://basschat.co.uk/topic/251996-warwick-dolphin-pro-ii-demo/"]http://basschat.co.uk/topic/251996-warwick-dolphin-pro-ii-demo/[/url]) I play too many notes, I know. It's not like that in a band, I promise.

Hello everyone With this flurry of time off work, I realised that I had never posted a video of a bunch of basses I have (and enjoy), so along with yesterday's rushed FNA Jazzman demo, here's a demo of the Dolphin Pro II that I bought the other month: [media]http://youtu.be/UwXO-X9pKNg[/media] The headphones look pretty sad but I can hear what's going on without deafening the neighbours... Some info: It's a 1990 German-made Dolphin Pro II. The Dolphin Pro IIs were originally made by a subcontractor to Warwick (as Warwick were quite small at the time) in Germany, a company named Shadow I think. They had problems with large batches of these and had problems with the subcontractor company selling rejects out the back door apparently. This is one of the few German ones that is alright, so it seems. The rest of the Dolphin Pro IIs were made up to 1999 (?) in Japan by Morridaira, the same company who made instruments for Fender and Charvel apparently (I could be wrong with this). They weren't made after 1999, and Warwick has never made a Rockbass version of it so the only options for a Dolphin are the SN and Pro 1, both pricey models. They are the same shape but have 26 frets instead of 24 on this and are made from some rather exotic woods. As Warwick expanded massively in 2000 (or thereabouts) I guess that's when they stopped subcontracting. This is made from ash I think, and the neck is made with three pieces of maple. The fretboard is wenge, and the nut is a brass one, the early ones where all strings are adjustable individually unlike the later Just-A-Nut models. It has a two-band EQ on it (on a stacked pot) and the other controls are master volume and blend (between the pickups, both of which are towards the bridge). Unlike the Japanese models, this does not have a preamp bypass so once the battery is dead it's Game Over. This has been bashed around a bit and the hardware has been changed (mixed gold and black) so it needs a bit of love to get it to showroom condition but it sounds great I think! In better hands and with less coffee it could be made to sing but I hope someone enjoys it.

[size=4][font=trebuchet ms,helvetica,sans-serif]Hello[/font][/size] [size=4][font=trebuchet ms,helvetica,sans-serif]Given some spare time today I thought I'd do a rough demo of my Warwick FNA Jazzman. It's a 2001 model, and with an ovangkol neck. I have had it since new; it currently has D'Addario Pro Steel strings on it (hence brightness!)[/font][/size] [size=4][font=trebuchet ms,helvetica,sans-serif]It's a sloppy video, sloppy timing, no musical direction or profound euphoric composition, and my cats were fighting whilst I filmed it (hence I looked around), and perhaps I play too much but I had just had a black coffee with loads of sugar in it. Also, I am not going to win any awards for clothing style or personal appearance... I am particularly proud of the terrible misplayed buzzy note near the end...[/font][/size] [size=4][font=trebuchet ms,helvetica,sans-serif]But hopefully it'll give an idea of the sound of the bass, given that there are very very very few videos of these basses online. [/font][/size] [media]http://www.youtube.com/watch?v=kDXm3R95Kms[/media] [size=4][font=trebuchet ms,helvetica,sans-serif]Some info:[/font][/size] [size=4][font=trebuchet ms,helvetica,sans-serif]These ovangkol necks are the ones that everyone says are "baseball bats" but I have never had a problem with it at all. I never played an older one so I obviously didn't notice a difference, but again I have no problem with it.[/font][/size] [size=4][font=trebuchet ms,helvetica,sans-serif]It has a large humbucker (so people can compare them to Stingrays) but as it's the Jazzman, it has an additional neck pickup at a slant.[/font][/size] [size=4][font=trebuchet ms,helvetica,sans-serif]Unlike the Corvette (which has the same body shape), this has a 3-band EQ for bass, middle and treble; the Corvette only has a 2 band EQ (bass and treble). It has a blend for pickup balance between bridge and neck (the stacked pot) with the top of the stacked pot doing master volume. [/font][/size] [size=4][font=trebuchet ms,helvetica,sans-serif]This has a three-way toggle switch for humbucker routing (humbucking and routed in series, single coil and routed as hum-cancelling with the neck pickup, and then humbucking and routed in parallel in the down position). This video has it in the last of these three positions.[/font][/size] [size=4][font=trebuchet ms,helvetica,sans-serif]There is an additional switch on this bass as you can see - that's for the completely unnecessary SIMs blue LEDs in the neck....[/font][/size] [size=4][font=trebuchet ms,helvetica,sans-serif]Comments welcome.[/font][/size]

Does anyone know who the O2 CD was mixed by? The "How The West Was Won" CDs from the other year and Led Zep DVD from the same sort of time was done by Kevin Shirley, who has done a few Black Crowes albums, a couple of Dream Theater albums and Black Country Communion and California Breed. He LOVES loud bass drums! I know Portnoy liked bass drums to sound like gunshots but even on The Black Crowes' "By Your Side" album the bass drum is deafeningly loud throughout the entire album. On California Breed it sounds like there is a subbass added to it to make it stand out but as everything is compressed and limited to death on that album you get things getting lost (see if you can hear the snare drum when a guitar solo starts). The same happens with Black Country Communion where it sounds muddy on the first album (where's the treble?) and then proceeds in various ranges of muddiness (perhaps for an "authentic" 70s sound...?????) If Kevin Shirley is responsible for this Led Zep O2 mix then that'll explain the square-wave bass drums. (BTW, I enjoy those albums he's mixed, just sometimes the bass drum is too loud for me). Don't get me started on Geddy Lee's recent sound - the last album sounds like indistinct noise to me. Long live the compressor with maximum makeup gain fed into the hard limiter! BZZZZ!

I wonder if it is related to the live equipment used? You will notice in larger venues that they are using line arrays - those speakers hung from the ceiling that have the bottom bunch curved down towards the audience. These are incredibly directional speakers, so if you're somewhere out of the "beam" of the speaker, you'll hear very little. For example, on a balcony perpendicular by the speaker, they have a ~120 (?) degree horizontal range so you'll hear nothing right next to it other than mush - had the speaker been able to put out audio 180 degrees from the front of the speaker, you'd be fine. But no speakers do that so don't sit on the balcony by the stage! You can see the band but you'll hear rubbish (or reflections from the rest of the room) Elsewhere in the room (such as on the floor) you may be getting the sound from one speaker on the left but then get the sound from the other speaker on the right slightly afterwards, leading to phase problems and audible mush. Even vertically from one line array you are fighting the same signal from two speakers in the array (sound from one speaker, then sound from the speaker above it), as they'll hit you at different times depending on where you're sat. They are designed so that you don't need a "wall" of speakers (like The Grateful Dead) and so they can fill an arena with sound and don't deafen the people at the front with the volume needed to reach the people at the back. With large venues or big outdoor gigs they may have arrays hung further back with a delay on them so that the sound from them hits you at the same time as the sound from the arrays at the front. Your brain will be fooled into thinking that the sound came from where the first sound came from, so you consciously believe that the sound is from the stage. Smaller venues (like dance clubs) don't have this problem because they are small - they can use fullrange speakers and aim them at people's heads by hanging them above the dancefloor. There's no audio fighting with other audio so you get clarity. But they obviously don't work in big venues because the people at the front will have concussion from the audio, and the people at the back will be complaining that it's quiet and that there's no treble ("It's a bit muddy isn't it?") In addition to the line arrays (which put out midrange and treble and perhaps some bass) they will put subwoofers, perhaps in front of the stage or under the line arrays. As you can't really perceive where bass is coming from, they can get away putting them pretty much anywhere haha. They run the live audio through crossovers to send bass to the bass speakers, midrange to midrange speakers, treble to tweeters etc. The sound engineer will take the sound from the mixing engineer and correct it for deficiencies in the room (some rooms sound rubbish and audio sounds honky) as well as "deficiencies" / idiosyncrasies in the live speakers. It may be worth remembering that some venues do not have their own PA or live system (like the Wolverhampton Civic, which has the audio properties of a school gym), so when a band plays the sound crew needs to: 1. Hang the speakers 2. Aim them correctly (rotation in the Z axis, not just X and Y) 3. Ensure each speaker is correctly aligned with other speakers in the array 4. Do burst sounds (pink noise) and use a sensitive microphone to work out the problems in the room 5. Correct problems in the room using filters 6. Go to step 2 and repeat until happy 7. Hope that the audience ("big bags of sound-absorbing water") don't absorb too much treble and make the sound "dull". And that's all in addition to setting up the band, getting an onstage engineer with his own mixer so that each band has their own monitor feed (the monitor engineer), getting the mixing engineer happy and audio fed to him! The mixing engineer has the difficult job of mixing drums live too. Think of all the bass rumble that microphones can pick up (probably best to put a highpass on them to cut it out) and then the task of getting a good bass drum sound without picking up all the bass. That's why many bands will have cabinets miked up OFF STAGE with dummy cabs on stage, in-ear monitors so they can hear what they're playing but only audio being played out of the live rig. The only sound you'll hear on stage is drums. So live sound is far more than turning up and plugging in amps and hoping the sound will fill the room. The bass sound in a venue is highly dependent on where you're sat, how much you turn your head etc. If you're stood up you'll hear it better because you'll have more body surface in contact with the audio - you hear bass with your body too, not just your ears. Apologies for the long post, but I find it interesting.... EDIT: I forgot to say: of course, if the bass player has a rubbish bass sound, no amount of filtering will make it good. I think the 80s slap sound is the worst - thump and click with no midrange or definition so live you'll just hear thumps and clicks and will get no idea of what actual note the bass is playing. EDIT AGAIN: Reading through some of the earlier responses again and forgot to mention how informative they were. Looks like small venues are the way to go. And I could be wrong about some of this stuff, of course. Actually, I probably AM wrong so PLEASE correct me on any part of it! Corrections more than welcome!

Ah thanks! I have only post 2000 basses and so far seem to be OK. What fails in the jack?