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Everything posted by Woodwind

  1. Agreed. I use phil jones stuff professionally and rely on it. The previous service department in Birmingham (I forget their name) were very good. I won't be looking at any product that isn't simple to initiate warranty or repairs.
  2. My guess is the wood in the neck has shifted whilst in transit. The bass would have had a rudimentary set up somewhere in its manufacture. Seems like the neck wood has "relaxed" so the truss rod tension pulls the neck more, thus giving you a backbow, which is giving you buzz despite the action. My ray34 has the most seasonally affected neck of any bass I've ever owned. Even going across town through the tube to a rehearsal space can mean it needs a tweak at the other end. Get your bass back from the luthier, put an allen key in the wheel at the base of the neck and turn it anticlockwise a quarter of a turn. Play it an hour or so later. If the buzz is less, try another quarter of a turn and see if this is good. you're taking tension out of the neck so the strings are pulling it straighter. This is normal. If you're finding the wheel turns very easily and has no effect on the neck, it is time to send it back as it means something is wrong with the bass, but my first instinct is nothing is wrong, it's just the wood used in the neck being very sensitive.
  3. As an extra word of (perhaps unnecessary) caution, it may also be worth investigating what the customs and timescale implications are if you ever need to send something back for warranty etc
  4. Ah great! Nice! I think it will be more fun watching it for location spotting 😀
  5. just watched. I know it's just a trailer, but it does look rubbish.
  6. New Cross? They filmed nearly all the live music scenes at The Venue and The New Cross Inn over a few days/nights last summer. It was hilarious negotiating the streets around the crews, the actors, extras and a load of tag along old school punks hanging out
  7. Trace Elliot stuff gets a lot of Love on Basschat. Your combo will definitely move some air and get a good sound (whether that sound is right for your playing contexts is a different matter). Modern amps can be a lot lighter than your combo and if the weight becomes a concern to you, you'll have the facility to remove the amplifier section and pair it with lightweight speaker cabs (this is what I'd do). Welcome back to bass. Enjoy!!!
  8. Yeah it's just for appearance really. I didn't know stagg sold covered cables, thank you for the heads up. Ideally I'd rather not buy yet more microphone cables though 😀
  9. One was definitely a 725, can't recall the other, but it didn't look exactly the same
  10. One for those that make their own cables. I'm looking at adding a bit of Visual identity to some cables ahead of a photo/video shoot. I make all my own cables and I'm quite tempted to add an external layer to them to give them a slight vintage vibe. This sort of stuff - https://www.ebay.co.uk/itm/4mm-8mm-12mm-PET-PP-Cotton-Yarn-Mixed-Braided-Woven-Cable-Wire-Guards-Sleeving-/263958276725?mkcid=16&mkevt=1&_trksid=p2349624.m46890.l49286&mkrid=710-127635-2958-0 I know it may be a bit passé now as you couldn't move for seeing light fittings in cafés strung with the stuff 5 years ago, but I digress. Has anyone on basschat used this kind of thing? I would like to buy from a UK based supplier, but I'm not having much luck finding one. Anyone able to recommend a supplier?
  11. I've been at two gigs where an RCF has popped on power up (Both models in the ART range) Different venue, different band etc etc so no common user error. In both cases the owners of the speakers when trying to get them repaired have found out this isn't unusual. As I say the sound from all the RCFs I've heard has been phenomenal, but these issues were enough to dent my confidence. I'm well aware that all equipment can fail though. I was looking for reasons not to spend RCF money and allowed this to influence (cloud) my thinking.
  12. That was my initial thought as well, but having seen many RCF power modules go pop I looked at something with a good warranty and supposed better reliability. That said, the sound of the cheaper RCF stuff I've come across has been superb
  13. The Alto and Headrush are built down to a price point to a greater degree than the QSC. I think you'll find the QSC goes louder (with a superior sound) than the headrush/alto Whether it provides enough of a difference to justify the outlay I can't say. I've recently acquired a Yamaha DBR12 and it's phenomenal. It provides everything I hoped for the money I had available. I don't know how much better it is than an Alto or how much "worse" it is than a K12, but it may be worth a tester Additional edit: I have just done a bit of googling and the Alto/headrush are basically the same price as the Yamaha. The Alto appears very similar on paper spec wise so assuming they are basically the same then 2 Altos should be enough.
  14. Just got a Grampian GR ribbon mic, completely refurbished and modified by Stewart at Xaudia. Quick test recording and it's fantastic! I can see this will be a slippery slope. These older mics have a fair bit of romance to them and can be brought up to modern standards and sound wonderful!
  15. Have you recently moved to the UK? EastAnglia in American terms is absolutely tiny, but in UK terms covers quite a large breadth of towns. Norwich, Ipswich, Cambridge being the big and busiest, but the coastal towns like Kings Lynn, Lowestoft etc etc will have "lots" going on and then all the other towns across the counties. Between all these hubs there will be a fair bit of variety, but I can't say how much to keep a pro going. It will be a bit of a slow slog to begin with getting your name around and into a position where you can pick up dep gigs. Facebook as has already been said may be of use. Do you have an online presence outside of social media? Your own website for example? It may be worth investing in one of a reasonable quality if not. Good luck!
  16. At the show I played earlier this month, I ran two double4's down the length of the room and had the yamaha next to me. The double4's did such a good job! I have built tilt back stands for them so they can be used vertically, but inclined. What I'd love is something that sounds like a double4, maintains the small form factor, but (much) louder. I'd imagine two phil jones c4s and one of their new classD amps would be close to this, but way more than I could afford to spend. The tilt back on the PA speakers is very handy.
  17. At the show I played earlier this month, I ran two double4's down the length of the room and had the yamaha next to me. The double4's did such a good job! I have built tilt back stands for them so they can be used vertically, but inclined. What I'd love is something that sounds like a double4, maintains the small form factor, but (much) louder. I'd imagine two phil jones c4s and one of their new classD amps would be close to this, but way more than I could afford to spend. The tilt back on the PA speakers is very handy.
  18. Virtually all the music I listen to is on record or CD, with a few new tapes and minidiscs bought from bands when I'm at a friend's who owns an appropriate player. The only times I stream music (primarily in previews on Boomkat or bandcamp or sometimes on excerpts in reviews) is to find out if I want to buy it. And @Stub Mandrelhas just replied while I type with precisely what I was going to say about commitment and algorithm 😀
  19. Bit late to this. I use Phil Jones Double4's to amplify my woodwind instrument. For on stage monitoring these are wonderful. Great sound and so easy to transport. This is when I'm going through a house PA However I'm planning more shows where the audience/stage relationship is slightly different and greater amplification is required. The "stage" sound is the sound in the whole space. I recently got a Yamaha DBR12 and just as the others have said about their QSCs I simply don't see why I would buy a "bass amp" again. Oodles of power, wonderful bass extension and very articulate mids. Oh and £370 delivered......
  20. Sorry, too strong a word on my part. Apologies. I hadn't had enough coffee when I wrote it and I just couldn't shake the image of a fender shape headstock and 4 in a row tuners on that body, which is where the "horrible" came from. A more diminutive headstock, 2over 2 or maybe 3 over 1 would look good with that organic form.
  21. Just read this whole thread. If I were to be going to the bother of commissioning a bass with the intention of sounding like Jaco Pastorious, that is resolutely not the body I'd be attaching custom wound pickups and a carefully specified jazz neck to. Aesthetics aside (I think it's horrible) you surely need as close to an alder fender jazz body as possible!?!? The wood has to vibrate/dampen the resonances in the right way.
  22. I think you're right. One can catch the spirit and qualities of a ribbon with a modest outlay. The more expensive, arguably better, microphones offer improvements, but will start to expose everything else one needs to improve - pre-amp(s) and room primarily. I've been digging around on current albums I like and the engineers have used very humble vintage ribbon mics.
  23. I've done a search and it seems most mentions of Ribbon microphones are from a while back, so I thought I'd start a new thread and hear from other ribbon fans. I'd always heard that a ribbon was a great way to record a double bass. Alas when I was playing and recording in that instrument I never tried one. Scroll forward a decade or so - I'd been involved in various sessions with my bassoon and contrabassoon and the engineers always brought out an interesting looking microphone. I enquired and it was a Coles 4038. My interest was firmly piqued so when it came to record some of my own music last year I asked for a Coles to be used in conjunction with a Neuman u87. In mixing I found I basically avoided adding any of the U87 as the Coles had such an amazing sound. Very solid, wonderful midrange and lovely bass . Since then I've experimented with various other vintage and new ribbon mics and I am now a self confessed fan. I'm looking to buy a cheaper vintage mic for my own demos and will always insist on a Coles to be used in conjunction with other mics in studio sessions. Anyone use ribbons here?
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