Jump to content
Why become a member? ×

Misowaki

Member
  • Posts

    256
  • Joined

  • Last visited

Posts posted by Misowaki

  1. On 29/07/2023 at 09:09, BigRedX said:

    "Festival" covers a wide variety of situations from playing on the back of a covered trailer to 50 people to Glastonbury and bigger.

     

    Therefore there is no "one size fits all solution". However for all but the very smallest festivals I would expect the bass to be delivered by the PA and my rig to be at best for on-stage monitoring only. From personal experience, even the smaller festivals I have played unless my rig was being mic'd up (and that mic being used as the main feed for the bass guitar to the PA) my rig was little more than a big, heavy and expensive stage prop. On any reasonable sized stage it stopped being even a personal monitor to moment I was no longer standing directly in front of it.

     

    So unless you can guarantee that your rig will be mic'd up and that mic feed actually used, or your are the kind of bass player who stands in front of their rig for the whole gig, there is little point agonising over what to take. Bring a decent pre-amp and go straight into the PA. There will probably be something on stage for the visuals anyway and I guarantee that none of the audience will have even the slightest idea that you're not using it.


    Haven't seen a mic'd up bass cab in a while! 

    Always DI and always fed back through a wedge or 2. On a Glasto thing I DI'd into a couple of wedges but that was for broadcast so didn't need the amp. I always prefer to have an amp behind me for a live show. Used the SVT 7 on all 3 gigs this weekend, no problem. Used with my Barefaced cab on two and the provided Ampeg 8x10 on the third. Think Lozz was right, there was some problem with that amp at SGP. Will probs get a Tonehammer for easy transport when I have the funds but I think the answer is to always bring my own head, keep it simple.

    Appreciate the thoughts, thanks.

     

    • Like 1
  2. 48 minutes ago, acidbass said:

    I'm not a fan of the Aguilar TH stuff personally. I could never get a good tone from a TH500 - always too much drive/distortion even with Drive control completely off. Obviously this might be a desirable tone depending on your style but for me it wasn't clean enough.


    Clean and warm is what I'm after. Used an Aguilar rig at a couple festivals and it gave me that in spades. Only other thing is headroom for pedals, OC2 and Manta filter being the main ones. I always use my Tonehammer DI through every rig with the amp set flat, maybe with the treble cut. Most of the time, Ampegs are fine. Only really had Ampeg heads for the last 8 years or so (a TC BH250 head for home/smaller gigs) and I know Aguilar will give me what I need. I've had the PF heads before and they've been a bit iffy. My SVT 7 had an issue with some dry joints in 2019 but has been good otherwise.

    I guess I really wanted to know if anyone's using a Tonehammer at festivals and the like. Bigger fests, you know they're gonna have good gear. Reading, Leeds, Glasto have all been great. Some of the smaller ones that have been put together by, uh... less experienced folk tend to have cheaper gear, in my experience. Maybe it's just the stages we've played.

  3. 3 hours ago, Lozz196 said:

     

    In instances where the provided amp was rotten I’d turn it down and ask for more in the monitors. 

     

    I always get a wedge mix that gives me as much as I'm getting from the amp, I like to bathe in the lows and know I'm getting the same sound all around
    Wasn't enough time or consistency of fault to get it sorted as it was mainly in the last song whenever I hit the G#. Never had an issue before but it's given me the willies as still have a fair few fests to go this summer.

    But yeah, I think it might have just been a dodgy amp. Still.

  4. Hi all.

    A run of festivals this year has left me a little torn. Last weekend I found myself getting a weird squelch on the last few songs of the set. Any time I hit a note on the low E, it sounded like an octaver failing to track. Checked my pedals, filter was off, OC2 was off. I was running my Tonehammer DI as a preamp through a Spectracomp set low into a rather weak sounding Ampeg SVT 'fridge' set up, which is usually pretty dependable or at least workable. Maybe it was over compressed, who knows. I'm pretty sure I turned the compression off on the amp. I've owned and used enough Ampegs in my time to know how to work one but this was weird from the off.
    At changeover, I noticed the next bassist had their own head. This has made me think maybe I'm slouching by not bringing mine.

    I have another 3 festivals this weekend and will be taking my Ampeg SVT 7 Pro which is great but unwieldy in its rack case when you're hanging off the back of an already overloaded transport buggy with band and gear like some weird Gollum, clinging to all the cases so they don't fall off. Long story short, I need a convenient, dependable, transportable workaround.

    I'm thinking about maybe selling the SVT 7 and getting a Tonehammer 700. I love Aguilar amps and they're a little more portable, right? Pretty sure I've seen one fit in the front pocket of a Mono case. Never owned one but played through various Aguilars at festivals and they're to die for.

    Anyone have any similar experiences and fixes/advice or recommendations?

    Thanks!

    • Like 1
  5. If of interest, this is the video in which the difference was discernible even through tinny laptop speakers (skip to about 1.15).

    Either way, the bridge is on its way to a new home now and to paraphrase NancyJohnson, all that matters is the hook.
    Turning a knob or two is easy enough and I'm blessed to even have a '74 P and a modern counterpart so yeah, no fuss, no muss.

     

     

     

  6. 4 minutes ago, NancyJohnson said:

     

    There does seem to be this obsession with sustain.  Aside from tuning, ask yourself this question, what is the longest you'd let a note ring out for in any of the songs you're playing?  I'd say the longest for me is probably an open A for a couple of bars in a 140bpm song.  Seconds, if that. This whole sustain argument is a nonsense. 

    100% with you. Baffling.
    But you know, horses for courses.
    I know I've got plenty of sustain when I accidentally leave my bass near the amp I've forgotten to turn off only to move about the house and wonder where that awful noise is coming from.

    • Haha 1
  7. 3 hours ago, Bassfinger said:

    The difference will be so slight it probably won't even be discernable by ear.

     

    It won't add sustain. Sustain is a function of the rigidity of the structure across which the strings are stretched.  A mass damper will actually reduce sustain, although the difference between bridges there is so slight as to be pretty much untectable again.

     

    If the bridge you have your eye on brings you adjustability or stability benefits, or you like how it looks, then go for it. Otherwise, forget it.

     

     

     

     

    Just as well I have no interest in added sustain 😁 It's always been an odd upside to me but maybe some folk just love holding single notes for 4 bars, I dunno.

    I didn't have my eye on it, I took it off another bass but I've sold the bridge now anyway as the general consensus is negligible difference.

    Thanks to those who have shared their experience, glad I didn't bother messing with it and that's another £70 towards my new Mustang!

    • Like 1
  8. 1 hour ago, ezbass said:

    It seems to be more popular with J basses and the only stock P that comes with a kickäss type is the Nate Mendle signature AFAIK. 

    Which is modelled on a 70s P, right? I know Juan Alderete also has similar but he's got that epoxy fretless neck so he's perhaps going for something different than just a deeper 'fundamental'.

  9. 2 minutes ago, ezbass said:

    There’s your answer, right there.

    Yeah but if there's someone that has done it they can tell me if it unlocked anything in theirs. Otherwise, what's the point in mods?
    I've heard it was a popular mod back then so you'd think there was a good reason. I'm hoping someone here can confirm or deny.

     

  10. *QUICK EDIT* - I'm talking about a difference in the fundamentals, deeper or rounder sounding. Looking for experience from people who have done this and that can report on their findings. 

    *additional edit* - I've sold the bridge now anyway

     

    I know what will come is people telling me to just do it and see for myself but cba rn 😁


    Anyone here replaced a stock bridge on a 70s P for a Kickass type bridge and noticed any resounding difference? Is it worth it? Like actually?

    I have a Kickass I took off a bitsa Jazz that I'm selling but wondered if it's worth putting on the P instead.

    I saw a vid where a dude swapped out a cheap bridge for a Kickass and the difference was astounding but I've not really wanted for anything from my '74. And this was a cheap POS BBOT bridge on an equally poopy basic bass but the Kickass did make it sound so much better, usable even. As far as I know, the old p saddles are chrome over brass anyway so it might make no difference. I have no interest in 'added sustain', it's purely a 'will it make the bass sound that much sweeter like the cheap one' situaton.

    I appreciate your experience, folks.

  11. *ONO*

    I got this just before lockdown and despite having had more time to learn upright, it's mostly been sat there and I need the money more than a bass I can't really play all that well 😄

    Sorry for crappy photos, who'd have thought it would be so hard to photograph what is essentially a tall, black stick.

    Previous owner had some work done to the nut and to the electronics, I believe. Works as it should, sounds better than I thought! Just not getting the use it deserves from me. Some minor dings on body and lacquer crack on head stock but perfect working order. I've also got some used TI strings I bought here that don't fit and are in a poor state (except for the A string, I believe) but if you have other uprights they may be useful to you.

    Strictly collection only, folks. Although I could deliver or meet locally if need be.

    Any questions, ask away. Visits/try outs welcome.

    Andrew

    1113361928_s-l1600(1).thumb.jpg.e6b4938d4650d1a5868b63e094ce0355.jpg1744412437_s-l1600(2).thumb.jpg.542c5dd550494208f50b4823bdd1a1c3.jpg516468585_s-l1600(3).thumb.jpg.51c35051a6704d7d6cd7e92c25fdaf26.jpg2014983853_s-l1600(4).thumb.jpg.077c16f9d4b9326da1814cdcbb060809.jpg1056896373_s-l1600(5).thumb.jpg.fdb4b01eadecd3790bac9953a32806f5.jpgs-l1600.thumb.jpg.1599d82135147edc75bda0331d5fd442.jpg

  12. 2 minutes ago, fretmeister said:

    Dumb question - are they fan cooled or passive?

    Uh... I don't actually know... there's no fan that I know of or can see/have ever heard so I imagine passive? But tbh I'm not entirely sure on what you mean by 'passive' in this sense =D
    I'm fairly sure there's no fan, I know the valve cage gets hot and the bulky bits on the side are transformers/powery fellows so I imagine that's part of the reason they're external (aside from the obvious vintage aesthetic).

  13. On 12/08/2020 at 17:13, Beno said:

    Hi J66Bass, no offence taken at all. Without the help of H.G. Wells, I really don’t know about the lack of a stamp on the butt of the neck. It’s not uncommon though. A very quick Google this morning throws up a similar situation with a 76 P.

     

    594098887_76Ptruevintage2.thumb.jpg.cf0b1fc94e8008af80447e199aea5fc0.jpg

     

    Our friend  Señor Jorres/Torres, turns up again on this 75 neck on Reverb and in fact he was on a bass FS here recently. He may have been having an off day.

    1182539109_75neckreverb.jpg.fd79a34d098c1ae88e3b3baf7f89a0d8.jpg

    My own theory is that the QC in Fender at the time was a bit lax to put it mildly. They were making fantastic guitars and basses, but didn’t realise it at the time.  I was talking to a lad recently that lived in the US/Canada and is very well up on vintage Fender stuff. He pointed out a very plausible scenario about the way things were done there.  For instance: a worker putting the neck plates (serial #’s) on guitars has a bin of plates. His bin runs low. Some guy tops up the bin with more plates leaving a few of the previous plates on the bottom. That’s why dating a Fender by s/n sometimes conflicts with other part dates.  Another quick search shows:  2 x 1974 P’s for sale with serial/n’s 626646 and 620940. Both of those s/n's are approx 27,000 later than my 75 s/n. Not sure how that works.

     

    Anyway, I would be 100% confident that the neck is the original.

    Just to back you up, I have a '74 that looks identical to this re markings and non-corresponding numbers. Torres neck too.

    • Thanks 1
  14. *please note* this is not the same as the Deluxe, this is one of the first Elites that took over from the Deluxe in 2015/2016.

    Times as they are, I need to shift this guy. He's served me well over the years as my main bass through festivals and live sessions but is still in great condition.

    Not really after trades but before you make offers, I'll only consider trades with a minimum of £500 my way. Preferably Japanese (lawsuit Ibanez or similar and MIJ Fenders) or USA Fenders. Passive only. Anything else, I'm probably not interested. I'm selling out of need and not want.

    If you're not familiar with them, this is the model with the Musicman style truss wheel. It has an active/passive switch and 3 band EQ.
    The neck is compound, graduating from a C shape to a D at the 12th fret. 

    Here's a review from Premier Guitar: https://www.premierguitar.com/articles/24081-fender-american-elite-precision-bass-review

    I gutted him once because I don't like active circuitry, the home made tort plate is left over from that and will still fit the original bits if you make an extra hole and maybe do a bit of light filing.
    I'm the 2nd owner. I didn't get a tool for the truss wheel and haven't been able to find one specific to the Elite but I've managed to make adjustments with a regular allen key and some caution. There are a couple of little marks on the wheel from adjustments (pic 4). The scratchplate is a little scratched up so you know it's done its job but only noticeable under scrutiny.
    In terms of dings, there are a couple of minors pictured towards the end. Otherwise, it's been loved and cared for. Currently strung with some old GHS Pressurewound but can find some rounds to put on if you prefer. 
    Case had some stickers, some marks left but easy enough to remove if you care to. Otherwise, perfect working order with 2 keys.

    Will ship if buyer arranges but meet up obviously preferred. I am based in Walton On Thames, 10 minutes west of Kingston.
     

    Features:

    • Double cutaway 4-string electric bass
    • PJ pickup configuration; split-coil Precision Bass middle pickup, single-coil all-new fourth-generation Noiseless Jazz Bass® bridge pickup
    • Onboard active 18-volt preamp for more headroom with less noise
    • Compound profile neck; redesigned contoured neck heel
    • 9.5”-14” compound radius fingerboard
    • HiMass Vintage bridge; new genuine bone nut
    • Includes redesigned ABS Elite Molded Case with TSA locks

    Specifications

    BODY

    • Body Material: Alder 
    • Body Finish: Gloss Polyurethane
    • Body Shape: Precision Bass

    NECK

    • Neck Material: Maple 
    • Neck Finish: Satin Urethane with Gloss Urethane Headstock Face
    • Neck Shape: Compound Back Shape, Modern "C" to "D" 
    • Scale Length: 34" (864 mm)
    • Fingerboard Material: Rosewood 
    • Fingerboard Radius: 9.5"-14" Compound Radius (241 mm-355.6 mm)
    • Number of Frets: 21 
    • Fret Size: Medium Jumbo
    • Nut Material: Bone 
    • Nut Width: 1.625" (41.3 mm)
    • Position Inlays: White Pearloid Dot 
    • Truss Rod: Dual-Action
    • Truss Rod Nut: Heel-Mounted Spoke Wheel Adjustment

    ELECTRONICS

    • Bridge Pickup: New 4th Generation Noiseless 
    • Middle Pickup: Elite Precision Bass
    • Controls: Master Volume, Pan Pot (Pickup Selector), Treble Boost/Cut, Midrange Boost/Cut, Bass Boost/Cut, Active/Passive Mini Toggle 
    • Switching: 2-Way Mini Toggle Switch for Active/Passive Mode. In Passive Mode, Only The Volume, Pan and Passive Tone Controls Function. In Active Mode, All Controls Function.
    • Configuration: PJ 
    • Special Electronics: 18V Preamp with Active 3-Band EQ

    HARDWARE

    • Bridge 4-Saddle HiMass Vintage (String-Through-Body or Topload) 
    • Hardware Finish Nickel/Chrome
    • Tuning Machines: Fender "F" Light-Weight Vintage-Paddle Keys with Tapered Shafts 
    • Pickguard: 3-Ply Black/White/Black
    • Control Knobs: Knurled Flat-Top 
    • Neck Plate: 5-Bolt Asymmetrical



    140799406_WhatsAppImage2020-09-08at18_51_18.thumb.jpeg.611df1e6f519c7c5ac37a0d481e49159.jpeg1311064226_WhatsAppImage2020-09-08at18_51_19.thumb.jpeg.c4e1189554aa5ba768d9e831bc2568fa.jpeg415494010_WhatsAppImage2020-09-08at18_51.18(7).thumb.jpeg.b5b08e61273f2cb816859fbd913c40cf.jpeg652152870_WhatsAppImage2020-09-08at18_51.18(6).thumb.jpeg.4cea49a435645eceac9ddfb52eb2c549.jpeg906196137_WhatsAppImage2020-09-08at18_51.18(5).thumb.jpeg.0add180079fff0b7f34d9ded5f480c37.jpeg2002368559_WhatsAppImage2020-09-08at18_51.18(4).thumb.jpeg.cf08f076a75dea6214b8ff1318eec79f.jpeg61589224_2374268866131287_127624240236068864_n.thumb.jpg.1ac15ed7ff5daf8895a27912fc8ac46f.jpg61679339_323338408563350_2543758092600868864_n.thumb.jpg.cfb6e17692ca12221a9a39fca76027b3.jpg1908974279_WhatsAppImage2020-09-08at18_51.18(1).thumb.jpeg.2def666940803e7ff4e83d2c4f5ec6fc.jpeg1553556825_WhatsAppImage2020-09-08at18_51.18(2).thumb.jpeg.3dcc5b437b67c5ac2ac353aa58f632e0.jpeg902901729_WhatsAppImage2020-09-08at18_51.18(3).thumb.jpeg.a99951aa0b6c729bcb82e18bce0f6019.jpeg61349514_882287125441687_5945521600060194816_n.thumb.jpg.cba652930854b3e3ca5749f03761c4ae.jpg20200524_142955.thumb.jpg.0e28f7187b5ef0767f3936df5894b5c4.jpg.bd790b1d8e3e1615608a9a681ce03a28.jpg20200524_142845.thumb.jpg.12ec444a580d98d40c080741433416a0.jpg.e0e3b4d6b71fc221ded353154c53490f.jpg20200524_142830.thumb.jpg.504e42e727069a0af3b06a71d967b0fa.jpg.89f051157584185d03f176f6a5245994.jpg


    These last 2 pics are from when I had replaced the active guts with DiMarzios and I was too lazy to tale new pictures, in case you're wondering 'what's up with those pups?'



    20200524_142804.thumb.jpg.5cdc082670f2d042b0047630c51dec3d.jpg.0a855e8d639a4f4515575ce9483f2995.jpg20200524_143043.thumb.jpg.3d5da5cecab06527db0eb0a2ef8a6541.jpg.15c5aa29be158bcc32779c9d9f6c627a.jpg

     

    61743742_1321288318021830_449063806031626240_n.jpg

    • Like 3
  15. Only used this guy on a handful of recordings and at home. Times being as they are, he's gotta go.

    Sounds as you'd expect, it's an Ampeg tube head. Not gonna hold it's own in a 7 piece without DI and monitors but loud enough for low volume playing in a 3 or 4 piece. Great for recording. It can be used without a cab load too so good for quiet home recordings as well.

    Had the flight case custom made by Swan Flight (they since have them on the website). Enough space beneath the head for amp leads (will include the speaker cable).

    Collection preferred but happy to chuck some extra packing peanuts and box it up if you want to sort out a courier.

    Any questions, let me know.

    20200810_180654.thumb.jpg.a72c27b556213e9dee9350f731ca6f14.jpg20200810_180902.thumb.jpg.68824289f03d457ac6e77add12b262c1.jpg20200810_180830.thumb.jpg.a2a8f04ff43c2c29c3d1c4a5ec9a5934.jpg20200810_180810.thumb.jpg.e1297dcec8703ac0fd915e7754ca185f.jpg20200810_180721.thumb.jpg.ce7315b41aaab5fd7a8f12a126295663.jpg20200810_180605.thumb.jpg.4bdfb35b069587ddcb5b2624c422aa61.jpg

×
×
  • Create New...