Count Bassy

[quote name='cheddatom' post='487016' date='May 13 2009, 03:59 PM']I have played the B150 and I did like it but I didn't think it was loud enough for my needs.[/quote] It's loud enough for me currently, but I can envisage situations where I would need more, unless it went through the PA. (If PA is available then I'd always put it through that anyway, otherwise how can the sound man do his job?) Again, re the volume, I have found that I end up plugging an active bass into the passive input, and have the gain pretty high. In this way you can get a clean sound via the SS pre, or a nicely distorted sound via the valve pre. I've also found that you can push the overall volume up by pushing the Equaliser settings towards the top. Even like this I haven't had any hint of unwanted distortion or speaker flap.

Thanks for all your comments folks. I can now come clean and say that I've actually got the B65 combo and am generally happy with the sound, except that it can tend to get speaker flap on the low notes at volume, and its not really man enough for full band rehearsals/stage. Bassed on that I bought a B150 as it was going cheap and am also happy with that - no speaker flap at any volume or pitch, and a huge range of tones. The B150 only cost £100 on t'bay, where as the equivalent Trace Elliot (specification wise) would, I suspect, have gone for two to three times that. I should also come clean and say that I haven't much experience of anything else. I've played through a Roland Cube 100 at my bass teachers, which I like a lot, a Trace combo in a rehearsal room which was also OK. - and I've played through an Ampeg something or other amp and an Ampeg 8x10 cabinet on a stage. All of these have been OK, but I know that the Ampeg kit was about £3.5Ks worth, so you'd expect it to be good wouldn't you. Re: "Were you hearing the amp or FOH? If he was DI'ed (and he probably would have been) maybe you weren't hearing the amp at all." Certainly some front of house (but don't know how much) as I was stood about 3/4 the way down the (village) hall (I think you you get a better sound than stood at the front).

[quote name='BottomEndian' post='485971' date='May 12 2009, 02:35 PM']I got that when I changed from XL rounds to Chromes (flats). There's a tiny increase in tension between the string types, but the difference in stiffness is very noticeable. It was also the change in string surface that made my plucking fingers suffer. The increased contact surface area on the flats meant some very sore fingertips for the first few times I played them. Is there a noticeable difference in surface feel between Slinkies and ProSteels? (I've never used either type!) Also, we shouldn't forget that there are factors of instrument build which affect the [b]perceived[/b] tension or softness of strings, like break angles over nut and bridge, and length from nut to tuning post. That means that the same strings on different basses might feel very different, even though the strings are at exactly the same tension (assuming identical tuning on identical scale lengths). This article has an interesting little section about two-thirds of the way down about exactly those factors: [url="http://www.noyceguitars.com/Technotes/Articles/T3.html"]http://www.noyceguitars.com/Technotes/Articles/T3.html[/url][/quote] From that article: "This formula may look pretty formidable: just take it for granted (it's actually derived from the fact that the note produced by a string is proportional to the speed that sound travels in the string, and that speed in turn depends on how tense and how heavy the string is." I dispute that. It's nothing to do with the speed of sound in the string. If I remember correctly it's to do with the mass of the string/unit length and the force produced by the displacement of the string by plucking, i.e good old Newton's laws of force, mass, and acceleration. Please correct me if I'm wrong (it's been 30 years since my Physics degree).

I ask this because I was at a Roger Chapman gig at the weekend and the bassist (Gary Twig) appeared to be playing a Marshall DBS 7400 through a DBS 7412 (4 x12) cabinet, and to me it sounded great - Rich, but also crisp and punchy. Obviously the sound depends on many things, but the amp and cab must be pretty important, mustn't it? Yet whenever Marshall come up on these pages people seem to be queing up to slag them off. Are they really that bad, or is it just that they're not trendy enough for the bassist around town to be seen with? As far as I can see the equivalent spec Trace Elliot, for example, will typically sell for twice as much as the Marshall, which either means that the Marshalls are no good, or that there are some real bargains to be had out there? Would they be more popular if they were orange or light green, or had quaint dial type VU meters?

[quote name='BottomEndian' post='485731' date='May 12 2009, 10:52 AM']This all sounds a bit odd to me. ProSteels are listed as having a [i]lower[/i] tension than D'Addario XL nickels at the same gauge -- and only slightly, to the extent that you might well not notice, and you might not have to adjust your neck relief or action. Behold (for example) the [url="http://store.daddario.com/category/145919/EXL165_Long_Scale_45-105"]45-105 long scale XLs[/url] compared to the [url="http://store.daddario.com/category/145893/EPS165_Long_Scale_45-105"]45-105 long scale ProSteels[/url]. I don't know how Ernie Ball's tensions compare to XLs, but I wouldn't have thought they would be [i]so[/i] different that switching to ProSteels would mean a huge jump up in tension. Might it be the case that people are actually finding the ProSteels [b]stiffer[/b] (i.e. less flexible, so more difficult to pluck laterally) than nickel rounds? That seems more feasible, and it explains Delberthot's statement that he didn't have to adjust the neck. Two strings at exactly the same tension (tension being measured along the length of the string) could feel completely different to pluck, depending on the construction of the string -- they'll move differently. This is all just falling out of the top of my head, so it's not very well put, but it's something I've been wondering about for a while. [/quote] I am not familiar with these particular strings, but +1 on the general sentiment and distinguishing between tension and stiffness. 'Tension' seems to be one of the most mis-used terms on these pages! after all you could have a 105 thou solid stainless rod, with zero tension, but you'd find it very stiff and difficult to pluck!

One of my favourite bassists. If I could choose a bassist to sound like Pete Stroud would be it.

but the drummer does look a little tired

and the band just keep ploughing on through what could have been a harrowing experience

And the video makes a great trailer for the band!

At least that band will never get stuck in rut

[quote name='liamcapleton' post='479560' date='May 4 2009, 11:49 PM']Never really bought into the whole guitar/midi thing. I think if you wanted to make your guitar sound like a synth, then buy a synth instead. Maybe that's a bit close-minded of me but all the same...[/quote] +1

Why don't Sadowsky just make them all the same size (for example on CNC machine), so that any neck can fit any body?

Wire wool is your friend! It's available down to realy fine grades, and you can 'sand' round the curvy bits without it going through to the wood on the corners like sandpaper can.

[quote name='Macko1968' post='454058' date='Apr 4 2009, 01:20 PM'][url="http://cgi.ebay.co.uk/Fender-Stu-Hamm-Urge-custom-signature-bass-VERY-RARE_W0QQitemZ160326064237QQcmdZViewItemQQptZUK_Musical_Instruments_Guitars_CV?hash=item160326064237&_trksid=p3286.c0.m14&_trkparms=66%3A2%7C65%3A10%7C39%3A1%7C240%3A1318"]http://cgi.ebay.co.uk/Fender-Stu-Hamm-Urge...A1%7C240%3A1318[/url] Over priced original Urge, they are not that rare or desirable. Also note in the conditions that he will not supply additional pictures, there's good customer service for you.[/quote] I've got one of those, albeit without all the trimmings, and it only cost me £600. They are not that rare - they seem to come up on Ebay once or twice a year - but it is a brilliant bass, so I'd have to agree with him that it is very desirable. For the money he's asking you could buy a new Urge II, although you'd have to put up with the 34" scale. Edited to say : Actually you could have a new Urge II and have several hundred pounds left over.

[quote name='Crazykiwi' post='473759' date='Apr 27 2009, 09:56 PM']I've never heard of lights causing squealing before - not saying it wouldn't happen happen but typically I've experienced it as 60 cycle hum though. I initially thought the cause might be microphonic pickups and high gain settings.[/quote] I've suffered from someones Guitar doing this when I was doing some live sound for them. I'd never come across it before, and it really threw me.

I like it too. Certainly not ugly, but it is a lot of money.

Welcome. The web site looks nice, but on my PC I seem to get a lot of overlapping texts. It might be my end, but you might want to check it out.

I play through a Roland Cube 100 every Saturday at my Bass teachers, and I've got to say it sounds great to me, really punchy. He (teacher) did say however that he had put a breeze block in the bottom of it and it has transformed its sound from OK to what it is now. Would this just be the weight coupling it the floor better, or the reduce air volume in the cab part, or what ? If one came up I'd certainly be interested.

[quote name='Longmayyourun' post='464301' date='Apr 16 2009, 07:15 PM']Andy - DON'T SKIP IT, this is looking much too good for that, and you've put in a load of work. All you need to do is reinforce the split to stop it getting worse. I think if it were me I'd try inserting one or two fine screws into the side of the neck heel (they'll be hidden when it's assembled). Put a clearance hole through the split off section, and pilot hole into the rest to pull the split together, if possible do this either side of the neck screw that has caused the split. I realise you might come across the truss rod end if you are unlucky, but it looks to me that you should have enough room. Re-drill the pilot holes for the neck screws (my specialist subject is stating the bl**ding obvious!) Insert the neck screws with the neck removed from the body and a G cramp across the heel (careful with the depth) to be sure everything is OK before assembly. It's looking great - don't lose heart now.[/quote] All the above, plus, had you considered putting threaded inserts into the neck and using bolts rather than wood screws to hold it on. This would reduce any tendency for the neck to split again when fastening it onto the body. Also if it is possible to (extremey carefully) open the split up enough to force some good glue down it and then screw it up immediately. Perhaps 'Screw it up' was a bad choice of words.

[quote name='Bassassin' post='468141' date='Apr 21 2009, 09:54 AM']Any remaining sticky residue (ooer mrs, etc) will come off easily with some acetone (nail varnish remover, ladies!), which won't damage the finish.[/quote] Actually I'd be very careful with acetone - it's one of the more aggressive solvents around, and will dissolve some plastics. It's actually used to glue perspex. IPA (isopropyl alcohol) is a much more benign solvent but will still shift most residues. I have also found that WD40 is very good as a residue solvent without damaging the paint. Some of the orange smelling label removers are very good, but they can affect some plastics - for example it can 'fog' the clear plastic of a CD case. As they say 'Always test on a small unobtrusive patch before use'

[quote name='niceguyhomer' post='465033' date='Apr 17 2009, 02:10 PM']Just received mine in the post from another member - bought as a back up for my Ashdown ABM RC500 EVOII. I dashed home at lunchtime and had a 20 minute plonk at bedroom volume and I have to say I'm very impressed with the sound - so much so that I think the Ashdown will end up being my back up head. Bit surprised that there's no speakon connectors though - had to use instrument cable to connect my cabs.[/quote] Be careful. Instrument cables are not rated to be used as speaker cables, though you might get away with it at very low volumes.

[quote name='OutToPlayJazz' post='466060' date='Apr 18 2009, 12:47 PM']It may be worth having a trawl around the stores and a phone around, as the Korean made Fender jazz 24 has now been deleted. You may get a bargain somewhere! The other option is John Shuker. If memory serves, his jazzes start at around £800 & I'm sure he could do one with a 24 fret neck. Haha! Just looked at the discontinued products on the Dawson's Music page... Look at the price [url="http://www.dawsons.co.uk/acatalog/info_00070739.html"]http://www.dawsons.co.uk/acatalog/info_00070739.html[/url][/quote] I'll take two!

[quote name='JJTee' post='465350' date='Apr 17 2009, 06:27 PM']Not true I'm afraid on either count. Action can be taken under nuisance even if there is only one complainant - however, they probably won't take a single [b][u]complaint[/u][/b] too seriously. Regarding the windows, an assessment is likely to be carried out with both the windows open and closed - after all, people are perfectly entitled to have their windows open for fresh air and ventilation, particularly in the summer. It's all a question of what is "reasonable", and it's not always clear-cut - there are always borderline cases.[/quote] I'll bow to your knowledge on that, but that's what they told us on the phone. Re the open window: Does this mean that we are entitled to practise with the windows open? - practices can get a bit hot and sweaty?

We've had a very similar letter from the council. It was particularly annoying because according to the complainant there was 'regular loud music coming from our house late at night', which is rubbish - our practises always ended by 9.30, and were, at most, every three weeks or so. As far as I'm concerned thay have lost my respect because they have blatently exagerated the situation. Anyway, on contacting the council they wouldn't give us any guidance as to what was reasonable. However they did say that they'd have to have more that one complainant before that took it seriously. Also it is only considered a problem if the complainant has their windows closed. I take the point that some you should consider your neighbours, (and our practises generally end up around 9pm, or sometimes 9.30pm) but people living in a community cannot expect to live in total silence - they'll have plenty of that when they're dead. To my mind them insisting on total silence 24/7 is as much an imposition on me as it would be on them if we practised every week and late at night. It all needs a bit of give and take, which I'm happy to do, but the complainers generally want it all their own way. We think we know who it is who complained and it is not an immediate neighbour, all of whom we have asked and have said that its not been a problem. The old woman in question is the one who, on the day we moved in (10 years ago), came over to complain that the removal men had left the radio on in their lorry!. Some of these people haven't got enough to do with their lives. On a more practical note, for some early evening practises, we have sometimes resorted to leaving the lawn mower running in the garden, so taht it masks the practise noise.

[quote name='OldGit' post='463186' date='Apr 15 2009, 05:28 PM']Ah .. I need a couple of neutricks and my local Maplins only had these in .. How do you tell the old ones from the new better ones?[/quote] I didn't ask that question, but I'll compare them when I get the new ones their sending me, and report any obvious differences. I agree with what others have said about beta testing by the public. There's no real excuse for it - after all its not like one in a thousand failing, from my experience with the right angle ones it's three in three.! Perhaps the prototypes were made on different machines to the production parts, or perhaps it's a quality control problem, perhaps tahy made the prototypes and 'outsourced' the production. Who knows? At least they seem to be doing the right thing now.