Beer of the Bass

Could that be the graph from the 12" Basslite? I remember looking at those for my cabs and wondering if that spike would be offputting. Most of the Eminence line have peaks around there and many of them can sound quite pleasing, but some models have it narrower and more pronounced than others.

I did used to bring a spare amp head when we hosted a monthly gig with guest bands using my amp, and I was using a vintage valve amp at the time. The backup (my GK MB200) was needed once, though afterwards I worked out that the failure was the speaker cable on my valve amp. As the valve amp was on a jack-to-jack cable and the GK is on Speakons, swapping them sorted it and I wasn't going to faff about figuring out the root cause during the gig.

I wonder if Ellefson was talking about the tone when running both the P and J pickups on full? The spacing between two pickups affects which frequencies are scooped and which are reinforced when both are run together, hence the fuss over 60s vs 70s spacing on Jazz basses. So I guess reversing the P pickup might make a more pronounced difference in a PJ bass with everything on full than on a solo P pickup.

I don't know if they're all the same, but the foto flame strat I've seen with the trem backplate off was a light coloured, plain grained hardwood under the printed outer veneer. Likely alder or basswood, so very much in the range of materials usually used for a Fender with a painted finish.

I'm not sure if it's been said yet, but I feel like the amount of cost and effort that it's justifiable to put into resilience measures (like backup gear) varies greatly with the amount of pressure and the money involved in a given gig. So I could picture myself taking a lot more precautions with certains kinds of function work than I would for a laid back set in a scruffy pub.

They do look like very nice mics, and there are some players using them who are notable for how well they get their sound across live. I can't afford one either, but the general principle of using a cardioid mic pointed towards the top in about that area could certainly be explored with more affordable mics. I've had good results on demo recordings with a Red5 Audio side-address condenser tucked under the bridge or tailpiece with foam, and a few people are using Sennheiser side-address dynamic mics that way live too.

I've heard plenty of plywood solid bodied instruments that sound good. It does have some practical downsides in the form it tends to be used in budget guitars - it can be prone to small cracks in the short-grained areas around bolt-on neck pockets, it often doesn't hold screws well, particularly close to edges, and the finish often sinks into the grain in unattractive ways over the years.

A 40 litre model would be pretty close to the pair I built several years ago now, though the bracing and porting in mine drew heavily from the Mark I basschat 1x12", and I used Eminence Beta 12A drivers because I found a couple lightly used at good prices. Those cabs are still serving me well and I haven't found any compelling reason to change them. I think I went slightly deeper and less wide in my proportions though.

Everything might have a price, but what I could get for selling my basses is so low compared to their utility to me, or to the amount I could find a workable replacement for, that I can picture very few situations where they would seem worth selling.

Bassists are often more receptive to features that weren't typically present on gear 40 years ago.

At the moment the basses I would never sell are the only ones I have. A 4 string bass I built over 20 years ago, now fretless, a 5 string bass I built later on, and my old double bass. The DIY builds are too personal to me to sell, and would have hardly any market value anyway, and the double bass is as good sounding a bass as I'm likely to ever be able to afford, even if it's quite scruffy looking.

I haven't tested in any objective way, but from the guitar and bass amps I've tried different preamp tubes in (of the same type), it seems like the amount of difference is very dependent on the amp circuit and tube position. In the cases I do feel there's a difference, it's a subtle one. And there probably is a dollop of conformation bias going on too, which makes it even trickier to be sure about.

It's not something I have a need for at the moment, but a compact 1x10" with a properly done crossover and HF driver seems like it might make a very nice jazz gig-sized double bass cab.

Yeah, I could see that. But it's hard to think over the logistics of it without getting into the old idiom of "Well, if that's where I was going, I wouldn't be starting from here"!

It occurs to me the acoustic response might be a bit hit and miss, since it's designed around a flat-top acoustic guitar style bridge and you're replacing it with a floating bridge and tailpiece. The bracing is usually designed quite differently between the two. Though with acoustic bass guitars the tone through a piezo might be more important than the unamplified tone.

With the front porting at the bottom, the only way they could be in separate compartments would be if the 2x15“ drivers were ported and everything else was in sealed internal boxes.

I wonder if he was using new boards, or recycling old ones? Since double bass fingerboards are often replaced when they've been re-dressed a certain number of times and the thickness becomes too thin for the job, re-purposing then as fretless electric bass boards would seem like a cunning idea.

If these were the size of a standard Fender Twin Reverb, that would be very small for a bass 2x12“, and if it's open backed like the usual Twin, then I wouldn't. It might be a nice guitar cab.

Ashdown seem to really prioritise effects loops. I've never had reason to use an effects loop, but on every Ashdown I've plugged into, it's right there on the front panel. I suppose someone must be using them, they've taken this approach consistently since the 90s when I had an early MAG tiltback combo.

With the chat about differences between onstage and FoH sound, I do think it's a useful skill to be able to make things work in a modest sized room with just backline and vocal/minimal drum PA. While there aren't many times that would be the first choice approach, I do feel it's a valuable exercise in dynamics, listening and communication that I've learned some things from doing.

I've tried a couple of different guitar amps through my bass cabs which use the Eminence Beta 12. It would be workable for some styles, but I find them a little "polite" sounding, definitely lacking something at the top end that I hear with almost any guitar driver.

Yeah, Gong would be a good example. Though the guys who form the current incarnation did make Daevid Allen's final Gong album with him, and had his blessing to continue as Gong so there's some sense of continuity there.

Yes, I noticed that with the A string. I have the saddle raised just a touch to even out the feel.

I've had mine on for about 2 1/2 years now, so I'm used to them. But they did feel like a big step down in tension from 45 gauge Fender or Sadowsky flats I'd used before that. The high end brightness mellowed off after a few weeks, but they've stayed clear and they can growl in a midrangey way. I like them; although they took a little adjustment in setup and technique, they feel very musical and expressive as well as never feeling like hard work.

When I was at uni I used to rehearse with a jazzy drummer with a little Trace Elliot Boxer 15 1x8" combo. It wasn't the deepest bass but it wasn't breaking up either. So if the situation and other musicians are sympathetic to it, you might get something of use at least.