JohnDaBass

Was this completed?

I've used one of their Alder P bass black gloss bodies. I found them to be first rate with all dimensions spot on. I completed my project with a Warmoth figured mapleJazz neck, DiMarzio Split P Pup , USA pick guard ( @Lozz196) and CTS loom from @KiOgon. A really lovely instrument to play and sounds wonderful.

Wallace??😂

Install a "Producer" control in the spare hole in the cavity. Basically an unconnected volume control which is used to fox the producer in the studio🤣🤣🤣. @KiOgon offers a wide range of "Producer" controls, from heavey metal to modern jazz 🙄🙄

A forward facing port is generally considered the most optimum but there are many cab designs with rear ports as the low frequencies are omnidirectional. One of the draw backs of rear ports is positioning close to walls on small performing spaces. I would recommend considering a side mounted port, I was really surprised how my BF One10 sounded when laid on it's side with it's bottom facing port pointing sideways. It was on a stand not on the floor and having tried both positions the side fireing sounded best to my ears.

+1

Yup , the wind from the port makes it really chilly in there 🤣🤣🤣🤣

Yup a Bells catalogue and Beat Instrumental were read by so many youngsters with a torch under the bed sheets. Happy days of innocence.

Selmer did a 50w 1x18 Goliath bass cab and 100w 1x18 Goliath bass cab both had Goodmans speakers. I bought my 100w cab second hand and the Selmer T'n B 50 amp came from Bells catalogue on HP. A T'n B 50 in mint condition is worth a small house nowadays. I seem to recall they used to sell for £35 s/h in the early 70's.

Had to do some re-organising in the basement so it was a good opportunity to show off my Acoustic 136 combo. The combo was purchased new in 1971 from Roger Jenkins Sound Centre in Cardiff. Roger was one of the importers and distributors of Acoustic products at the time and as an employee I enjoyed a small staff discount. The Combo is all original except the original Eminence 100w 8 Ohm 15 ins square magnet speaker has been replaced with an Eminence 400w 4 Ohm Kappa -C 15ins. (I still have the original speaker). Back in the early 70's I was not knowledgeable enough to calculate whether the Kappa-C had the correct specs for the folded horn reflex cab design, I just thought " well it's Eminence, it's 15 ins and it can handle 400w , so it must be right". Fortunately it has worked and lowering the impedance from 8 ohm to 4 ohm allowed the amp to output it's full potential. The castors and the H & H bar handles were added to help with handling. It works really well and sounds awesome. Isn't it strange how we used to manage our sound tailoring with 3 simple controls? Volume, Treble and Bass plus a Bright switch to and a little sparkle. These were fine amps built in California with great pride and professionalism. It's really sad how big corporations buy up innovative successful companies only to loose the key personnel and run the businesses into the ground. We are fortunate that those clever engineers and Innovators moved on to create other new enterprises that we bassists have benefited from. This combo replaced my Selmer Treble'n Bass 50 Mk2 and Selmer 100w 1x18 Goliath rig. I still have the T'nB 50 Mk2 amp and I plan ( One day) to rebuild it with all new replacement transformers, valves and caps. I'm sure it will sound fantastic thro one of my Barefaced Super Compacts.

Had to do some re-organising in the basement so it was a good opportunity to show off my Acoustic 136 combo. The combo was purchased new in 1971 from Roger Jenkins Sound Centre in Cardiff. Roger was one of the importers and distributors of Acoustic products at the time and as an employee I enjoyed a small staff discount. The Combo is all original except the original Eminence 100w 8 Ohm 15 ins square magnet speaker has been replaced with an Eminence 400w 4 Ohm Kappa -C 15ins. (I still have the original speaker). Back in the early 70's I was not knowledgeable enough to calculate whether the Kappa-C had the correct specs for the folded horn reflex cab design, I just thought " well it's Eminence, it's 15 ins and it can handle 400w , so it must be right". Fortunately it has worked and lowering the impedance from 8 ohm to 4 ohm allowed the amp to output it's full potential. The castors and the H & H bar handles were added to help with handling. It works really well and sounds awesome. Isn't it strange how we used to manage our sound tailoring with 3 simple controls? Volume, Treble and Bass plus a Bright switch to and a little sparkle. These were fine amps built in California with great pride and professionalism. It's really sad how big corporations buy up innovative successful companies only to loose the key personnel and run the businesses into the ground. We are fortunate that those clever engineers and Innovators moved on to create other new enterprises that we bassists have benefited from. This combo replaced my Selmer Treble'n Bass 50 Mk2 and Selmer 100w 1x18 Goliath rig. I still have the T'nB 50 Mk2 amp and I plan ( One day) to rebuild it with all new replacement transformers, valves and caps. I'm sure it will sound fantastic thro one of my Barefaced Super Compacts.

Well I have found the whole of this thread exceedingly interesting but it has not changed my views that blue painted compression pedals are far superior to red painted compression pedals, to my 70 year old Tinnitus ears. The blue ones sit much better in the mix than red ones down the Dog & Duck. (BTW I've had my 2nd jab)

I would just use the 100mm hole saw you have, hole saws will normally cut "oversize" a tad and you could just ease the hole with sandpaper to achieve a nice snug fit.

I use them for most of the Free & Bad Company numbers we do, they were created mainly for "All right now" & "Feel like making love"

Here are a couple of files for the 'Free' & 'Bad Company' patches from earlier in the thread. FREE Bman [JdB-Dri].zb1f FreeTE4x12 [JdB-Dri].zb1f

All sold out

All Tested and all downloaded successfully and all work fine. Well done @Al Krow again you prove yourself to be a generous, kind, supportive contributor to these hallowed Forums and a true Gent . Thank you ( Take a Pound out of the till on your way home Son)

CEO vanity has an influence in the first instance until financial reality hits and quietly papered over. Probably following a review by an outside Consultant who charges £2500 a day and plays golf with the CEO.

I have a sack cloth tabard, that has been soaked in goats milk and hanging out in the sun for the past week, that you are welcome to wear when you surface for the bath dowsed in Domestos. I'm sure your penance will be enjoyed by all!

I love this, simplistic, elegant and a refined beauty. I would really think twice about this , if you still wish to proceed have it done by a professional. OR sell it and buy another Spector in the colour combo you desire. Sorry for being such a miserable old Pensioner!

+1 Sell the PJ cabs and search out Ashdown cabs driven by your MAG head. If a band opportunity arises consider upgrading the head when needed.

I agree with choice of simplistic black Pup & control plate. It's going to be a great looking bass.

Spent a very pleasant afternoon yesterday noodling on my B1Four and I was struck yet again how much value is bundled into this little box. I now own 2 B1Fours (just like @Al Krow) one permanently on my small pedal board and the other in daily use in the study/music room with my practice setups. I have Gas for a Line 6 wireless POD Go, but I don't believe the cost justifies the improvement in sound to my 70 year old ears or in the mix of the pub venues we play. The recent addition of a HB Airborne wireless unit hasn't helped with the maths since the two together come in at less than £180. Perhaps I'm just tooooo much of a SkinFlint.

Is a NS Pulse 4 considered by Spector owners a good entry into the Land of Spector for a Newbie to Spector basses?

+1