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72deluxe

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  1. 72deluxe
    And sold!
  2. 72deluxe
    Thanks Dunc. Bump!
  3. 72deluxe
    Now sold! [size=5][b][font=trebuchet ms,helvetica,sans-serif]Harley Benton BA5110C class D 500W @ 4 ohms amp head[/font][/b][/size] [font=trebuchet ms,helvetica,sans-serif]I'm selling my amp as I bought a secondhand TC RH750 instead, so this is surplus to requirements. I bought this in 2010 but it only did 2 gigs, and wasn't turned up much. It has been sat unused for a long time, so hopefully someone else can get use of it.[/font] [font=trebuchet ms,helvetica,sans-serif]Spec-wise, it says 500W @ 4 ohms, but will also drive 8 ohm cabs, obviously with less power. I used mine with an 8 ohm 4x10" cab on the two occasions I gigged with it. The two outputs at the back (one jack, one speakon) are wired in parallel. Always prefer the Speakon for safety![/font] [font=trebuchet ms,helvetica,sans-serif]It originally sat in a 1x10" combo/cabinet which housed an 8ohm speaker of unknown wattage, plus a tweeter. This little cab was very well made, so I am keeping it for quiet home practice. The amp originally slid into the back of it and had 4 bolts to hold it there; you can have them if I can find them![/font] [font=trebuchet ms,helvetica,sans-serif]No box unfortunately; I think I have a manual somewhere but from memory it was very very spartan and the amp is quite self-explanatory; sorry if I can't find it. It's a bit dusty on top, and the odd mark from going into a gig bag.[/font] [font=trebuchet ms,helvetica,sans-serif]Pictures here:[/font] [url="https://drive.google.com/folderview?id=0B3vzHZmGDdwKc3RyX2U5bFkxaTg&usp=sharing"]https://drive.google...aTg&usp=sharing[/url] [font=trebuchet ms,helvetica,sans-serif]It did develop some odd noises (a periodic click-type noise??) the other month but after having left it for 6 months it is quiet as can be. I did get a sound-equipment service engineer I know to look at it after the initial fault, but he could find nothing wrong with it (tricky without a schematic) and the capacitors inside aren't bulging or anything so I truly believe it is fine. The board looks fine too and no components look duff so not sure what the noise was all about.[/font] [font=trebuchet ms,helvetica,sans-serif]This is IDENTICAL to an Ibanez Promethean. In fact, here's an old Basschat thread on it:[/font] [url="http://basschat.co.uk/topic/168416-another-promethean-clone/page__view__findpost__p__1590423"]http://basschat.co.u...ost__p__1590423[/url] [font=trebuchet ms, helvetica, sans-serif]£120 delivered in the UK. Payment by Bank Transfer or preferably PayPal (with no fees for me thanks).[/font] [font=trebuchet ms,helvetica,sans-serif]With free power cable![/font] [font=trebuchet ms,helvetica,sans-serif]Thanks![/font] [font=trebuchet ms,helvetica,sans-serif]Rich[/font]
  4. 72deluxe
    Ah so whilst learning the rules, I am also free to ignore the rules if I want to sound "clashing" or "add tension"? That doesn't really help encourage learning the rules!
  5. 72deluxe
    Thanks for the answers. "scales generally work over particular chords because they contain the notes of those chords within them." And does that relate to the construction of the V7 chord? Is that because it is made up of the notes of the mixolydian mode, as the fifth degree of a C major scale is G, so you construct the chord from the mixolydian mode (G (first), B (third), D (fifth), F(seventh))? You mention that you could use different scales over a progression (eg you mention an E7 chord). If the only notes that fit over a chord are the ones that are in the mode related to the chord or the notes in the chord, how can you break away from that and say that you can use different scales? How do you know what do use? Is it just by ear and hoping it works through trial and error? I get from this that you learn chords first and then the modes that fit over them, yes? tinyd, that was the question I have. Your two reasons make sense, particularly the first so thanks.
  6. 72deluxe
    Thanks for the link. The gulf in my understanding is starting to become extremely apparent, and I am lost. Time to visit my library of books and struggle my way through them.
  7. 72deluxe
    [quote name='leftybassman392' timestamp='1452099710' post='2946412']A good exercise would be to write down the I, IV and V chords for each mode (the Locrian is a bit fiddly, but worth the effort). [/quote] It is all coming together very slowly in my tiny brain, but you lost me there - what is my exercise here? I did dig out a PDF I downloaded ages ago ([url="http://gustavolopezsegura.com/Docs/Bass_Scales_And_Arpeggios.pdf"]http://gustavolopezs...d_Arpeggios.pdf[/url]) and this ties up with what Jay said above. On the D Dorian scale page (page 12), it shows Dm7 as the arpeggio, which could also be read as a chord, right? I get that the extended chord you mentioned has all of the same notes in it as the scale (but not necessarily in the same order). As an exercise I downloaded iReal Pro and put in a repeating C major chord and tried the modes over that (just D dorian and E phrygian so far) and they fit (obviously because they have the same notes) but putting a triad (or playing a chord constructed of the triads) of each mode over them still fits and sounds right. But I am a little stuck at understanding why Dm7 is used over D Dorian: is it because the triad of the (1st), 3rd and 5th notes from the D dorian scale have an extra 7th from the dorian scale added to make the full chord? You could get away with not playing the 7th too, correct? Also, IIm7 for Dorian (as listed at the top of the page in the PDF) and IIIm7 : what should I read that as in English? In my head I am breaking IIm7 down as "C major scale, but starting on the second note of the C major scale (the II bit) ..." but then get lost there. I hope these questions make sense! EDIT: I read up on Wikipedia's page on Harmony and see that a C7 chord is the first, third, fifth and flattened seventh, as it includes a Bb, which is the seventh note of the C major scale that has been flattened. If someone could explain the Dm7 above in relation to this, that'd help. If I play the Dm7 triad (F, A, C) it sounds major to me so I am not understanding the "m".
  8. 72deluxe
    [quote name='leftybassman392' timestamp='1452093416' post='2946319'] All modes do is to change the position of the root note (which in turn means that all the other notes will have a different relationship to it). [/quote] That was the missing piece of information! You can put the triads of [i]that[/i] mode (essentially the building blocks of chords) over the "original" scale? As you can tell, I have not finished reading my "bass harmony" book.... I gleaned the information regarding 3rds and 5ths from playing rock all this time, by chance. But did not try wandering further up the scale and layering that over the root. Have you ever considered writing a book?
  9. 72deluxe
    [quote name='leftybassman392' timestamp='1452091965' post='2946291'] Same notes, different names. [/quote] Is the fact that they have different names important in a fundamental way that I am completely missing? Thanks for taking the time to explain this BTW. Sorry about my confusion; I hear guitarists using modes (Steve Vai, Satriani) all the time (eg favouring Lydian) but I haven't the foggiest why it is working, how it is important, or how it works, particularly as they are the SAME notes between all the modes.
  10. 72deluxe
    Do relative minors === modes? If I am playing a series of notes in a scale but start on a different note in that scale and go up to the same note an octave above following the order of the original scale, [u]so what[/u]? I don't understand how or more importantly [i]why[/i] this is important. To me, it's like saying salt is in food A and also in food B, isn't it wonderful and life changing !! But surely salt is still just salt, wherever it appears in the recipe. Sorry about this; I have never had a good explanation of why this is so important/life changing and I always feel I am missing something. My book on music theory discussed medieval modes and it didn't help in the slightest.
  11. 72deluxe
    Thank you, that helps a bit. I suspect I am overthinking it. I have always added runs in my playing that are basically going up and down a scale (or pausing and doing it twice, for interest...), but based on the "root" (dominant?) key of what we are playing in, is it permissible to play any of the modes over it? I am mainly hung up on the fact that the actual notes played are all [i]identical[/i] between the modes. If a song is in E minor, I know I can play G major over the top and they are identical notes. This is a mode, surely? But they are still the same notes so I don't fully understand (at all?) how it helps with playing because I'll still be putting in exactly the same notes. So the mood of the song does not suddenly change, as they are the same notes.
  12. 72deluxe
    Can you take any scale and apply the same approach to it though? eg. minor blues scale. What does that get called? Further how does it fit over the "key" of a song? eg. in traditional rock/pop songs we typically play the root notes of the chord for that section. If we start running up and down a mode of the scale used for that passage, it'll sound crackers surely? eg. if a section is in D, we could just run up and down D major or a mode. If it is just playing notes from the same scale but starting on a different point, what difference does that make?? It is the same notes, surely? I don't get how it helps. Hopefully my question makes sense?
  13. 72deluxe
    Is it that simple? Basically the major scale but starting on a different place in the scale? Or have I misunderstood?
  14. 72deluxe
    [size=4][font=trebuchet ms,helvetica,sans-serif]I queried Mark at Bass Direct and he says: "[i]Tecamp are changing their name to Eich Amplification (due to some idiot in the USA messing Tecamp around) and products will be rebadged with Eich Amplification - all warranties etc are valid so just a company name change[/i]"[/font][/size] [size=4][font=trebuchet ms,helvetica,sans-serif]Interesting eh! I wonder who owns the "intellectual property" on the amps, particularly as the Tecamp USA site says they will be making them in the USA...[/font][/size]
  15. 72deluxe
    Very fluid, this music industry is! (says Yoda) Perhaps Jeff Genzler and Thomas Eich should call each other and create some form of super bass amp company. Tecamp now American, TC bought by Behringer, who's next? Warwick?
  16. 72deluxe
    [font=trebuchet ms,helvetica,sans-serif]Glockenlang have identified the preamp as theirs. They use MEC pots on their boards. But they cannot work out why the output volume is so low. It does not help that Warwick's website is so poor for information. The schematic for the preamp on this bass is found under Warwick Custom / Signature Jack Bruce Survivor / Jack Bruce Signature, along with the schematic for the real German Jack Bruce. Such a mess! This bass is NOT a Warwick Custom model at all, yet the schematic is found there. One uses active pickups (the German one) and this uses passive pickups. But, the replacement pickups for this bass are listed on MEC's site under Star Bass II, as they are the same pickups. Such a confusing mess. It doesn't help that MEC do not produce ANY specifications of their pickups or preamps, unlike EMG, Bartolini, Glockenlang etc. who all have helpful PDFs detailing how to fit items. EMG In particular have incredibly verbose specifications. I am chasing Warwick/MEC for details on these pickups. I adjusted the action and neck the other day and it plays much better. Compared to a Fender, I used to have a Fender Jazz and really liked it, although I prefer the fret radius on Warwicks, as it is flatter (I think they use a 20" fret radius compared to Fender's 9.5"). This is heavier than the Fender I had (a Fender Aerodyne, 2004 Japanese). The neck feels thicker than a Fender, from memory. But not too thick for me at all. One thing you can be sure of is that you won't see many of these compared to the sea of Fenders. Not sure if that's a bonus or drawback. I will try and do some form of demo at some point if you're interested gs_triumph? What styles/techniques do you play in? And where are you?[/font]
  17. 72deluxe
    Fenders on steroids! I visited the Sadowsky factory in NYC and they were the friendliest, nicest bunch of guys you could ever hope to meet. Lovely bass, hope the sale goes alright!
  18. 72deluxe
    I had one of these, and it was great. It was even better in the hands of someone who actually played guitar. Additionally, Nick is a great guy so deal with confidence.
  19. 72deluxe
    Thanks for the info about the preamp on ebay. Sadly the preamp there is optimal for active pickups. The pickups on the JB are passive according to the schematic. I have got in touch with Glockenlang about it and they have been very helpful so far, so I will see how it turns out. gs_triumph, I suspect that originally the output was great. I have a Star Bass II which is entirely passive (with the same passive pickups I believe) and the output on that is much louder, hence why I was shocked by the minute output of this! I have no idea why they replaced the original preamp. I have MEC preamps in other Warwick basses and I have never had any trouble with them. If your amp isn't the loudest, it isn't a problem. As long as your amp has a gain control in the preamp section that goes to +11, it'll be no problem........
  20. 72deluxe
    So it would seem! I always thought LX models were bolt-ons, but that shows what I know! Pity I don't have the money, that is a truly lovely-looking bass.
  21. 72deluxe
    Lovely bass. Out of interest, how can this be an LX model if it is neck-thru (NT)? Are you sure that the model is correct?
  22. 72deluxe
    According to the Wikipedia page, Pappalardi played bass on "What a Bringdown". It does not mention him playing bass on Badge. Glad I asked though! Much more reading to be done by me!
  23. 72deluxe
    Sold a double bass to Stephen, great communication, no problems with payment or anything, all good!
  24. 72deluxe
    Thanks verb, I got in touch with Warwick who pointed me in the direction of buying new internals (not really what I wanted), but an email to Glockenlang confirmed that the internals are entirely Glock (they said they use MEC parts), so you were right. Meddle, the pickups are quiet to my ears. I adjusted the action on it yesterday and it plays much better so I will do a better demo at some point. I did a quick clacky clacky slappy slappy demo for the original post but it was littered with slapping, having recently seen a medley of Mark King licks.... gsgbass - was it really? I didn't know that. I knew JB used massive Marshalls when touring (so how he got the bottom end out of them, I don't know). But for recording, I don't really know what they used. I can hear some warble on his playing in Strange Brew, like a vibrato? Do you know if he used the same gear for "Badge"?
  25. 72deluxe
    Now sold, thanks for the input on identification/construction.
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