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Dragonlord
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Everything posted by Dragonlord
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[quote]We run two courses, where students can build a complete guitar or bass in 5 days. The first course is for up to five students and you can choose to build one of five instruments. We start completely from scratch with the bare timber and you'll learn all the processes involved with making your own guitar. The courses are run in Derbyshire, in the heart of the Peak District, accomodation and meals are available. The second course is a one-to-one course where the student can indulge in a more complex build. These courses are all designed around what you want to build, whether a through neck bass or finishing work. A rewarding week is guaranteed![/quote] (from Jon's site) I'm intrigued. Has anyone done it? How much did you have to pay? (yeah, I know I can contact Jon about pricing etc, and probably will, just wanted to hear from others who have possibly taken the course)
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Here's a quick sample I did: first half is my bartolini-loaded dingwall in passive mode, then the Aguilar DB-924 kicks in. You can hear how it warms up and sweetens the tone. [url="http://media.putfile.com/Aguilar-DB-924---first-half-off-second-half-on"]Aguilar-DB-924---first-half-off-second-half-on[/url] -
[quote name='carlosfandango' post='81066' date='Oct 30 2007, 01:30 AM']I read somewhere that Jorg himself prefer Aguilar DB750’s with his cabs……so much gear, so little time (and dosh)[/quote] Yeah, the DB750 is one of his all-time favourite amps, but the last time I talked to him he was playing more with a Demeter pre and a QSC (i think) power amp.
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Bassballs: I don't think so, but I do know that someone carries them in the UK - check out the dealers page on Jorg Schroeder's site, it should have contact info. WoT: Yeah, I used to have a 1210R and a Mini12R and I'm told the same about the bigger boxes, but that they are still mid-heavy on their own right.
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Well, Schroeders are basically that loud because they have a mid bump, so I think you will either have to change your taste in eq or learn to live with not being heard. Anyway, I know that the scooped sound might sound more pleasant when you're playing alone, but in the band it's a different story. I doubt you like your current tone in the mix if you "struggle to pick yourself out".
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Bump
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The guy who sold me my Dingwall said he'd ship the original Dingwall gigbag with it, and instead shipped me a TKL gigbag which is utter crap - but it was probably veeeery cheap too, they might have better models.
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[quote name='Mokl' post='76474' date='Oct 19 2007, 02:41 PM']I had a similar problem with my Sei, not deadspots, but a very lifeless, boomy tone. I put this down mainly to the Barts and Schack pre.[/quote] A good luthier though should have suggested components that would give better results. My experience with Sei has been very, VERY dissappointing. Beautiful shapes, great looks (the craftmanship if you see it as furniture is awesome) but not much else. To johngh: honestly, get rid of the barts. A Villex all-passive system would be great, and you wouldn't have to buy another preamp as well. Also Dingwall pickups are great, but I'm not sure if they will fit your bass. Anyway, the aguilar pre is pretty transparent, and when I compared it to the passive mode on a Dingwall there wasn't much difference, so I highly doubt that your pre is to blame. Didn't the sei guys put an active/passive switch? This way you'be able to know for sure. Anyway, it's probably the last thing I would change.
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This is still here... make me a good offer!
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[quote name='BigRedX' post='60645' date='Sep 15 2007, 01:02 AM']Time for Friday's bass and here it is: This is a TK Signature Series 524 Bass Made by Todd Keehn in Colorado. I'm a sucker for the fanned-fret look, and now having played a Dingwall Afterburner, I can say that it's surprisingly easy to adapt to. In fact the fanning looks more difficult when you look at a bass from the front than from the playing position. The fanning on this bass doesn't seem as extreme as the Dingwalls this one's 37-34" (I believe that the Dingwalls are shorter scale on the G?)[/quote] Nope, Dingwalls are 37-34". Judging by the photo, this bass must have a less extreme fanning, 2" difference between B and G at most. (yeah, i saw this a little late)
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Mesa Boogie Powerhouse 2x10" and 1x15"
Dragonlord replied to fleamail's topic in Amps and Cabs For Sale
[quote name='tremblap' post='74058' date='Oct 14 2007, 11:33 AM']You can see for sure on the plug plate behind. Keep me posted pa[/quote] Not really, since it's not my ad and these are not my cabs. I just recall them being 8 ohm from reading it on the ad fleamail posted on a greek forum. -
[quote name='SMART' post='74044' date='Oct 14 2007, 10:27 AM']The woods used in a bass do have some affect on the overall tone but don't forget all the other components as well such as the voicing of the pickups and electronics used to control volume and tone. Purpleheart on its own would not be the fundamental or overriding factor in giving your instrument a tight sound. The finish on the body also affects how the whole body will resonate such as a high gloss, satin or natural finish. I remember talking to Pete the Fish Stevens of WAL some years ago (and Pete has some pretty definite ideas on all of this!) and he explained it did not matter what type of woods and finish you had with an instrument (for cosmetic reasons, he feel there's too much marketing hype placed on this aspect of the instrument) that is to say if you plummed for a Bartolini system (pickup and preamp) you could always hear that it was a Bartolini equipped bass (and that's not saying it's a bad sound either!). In other words the dominant factor in your final tone (apart from superb natural ability, magic fingers and an ability to hit he '1' on time) are your pickups and electronics and then how you may further sculpt your tone via whatever amplification system you opt for. Sure the kind of woods that are spec'ed do have some effect on body and neck resonance but most of it is cosmetic and it's not as much as some marketing blurb would have you believe. For instance, because of the way Rick Turner's Renaissaance instruments are constructed and amplified with onboard electronics, the sound and tone is designed to be the same whatever instrument you play regarding finish. So a High Renaissance instrument with gorgeous high gloss finish and trimmings will sound the same as Studio Special with a more basic satin finish. Just some thoughts again!! Ian[/quote] I recently A/Bed my Dingwall Prima vs another Prima with the same pickups, electronics and more or less the same woods. Guess what; they were significantly different. Mine had that deep low end and somewhat scooped mids, while the other one lacked the bottom but had very organic mids. Just goes to show you never can tell.
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Since you said you're looking for clarity, may I suggest fanned frets... maybe a small difference if you're scared of it, like 33.5"-35.5".
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The lower strings have bigger tension than on usual basses, which means greater definition, more even string-to-string tension and string-to-string tone. I always thought my 34" warwick had a great B string until I played a Dingwall... after that, it was a matter of months before I got the funds together and replaced the warwick with my prima. No regrets whatsoever.
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Mesa Boogie Powerhouse 2x10" and 1x15"
Dragonlord replied to fleamail's topic in Amps and Cabs For Sale
I'm pretty sure they're both 8 ohm. -
United States Postal Service. USPS for friends.
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My main bass is a Dingwall Prima 5. The fanned frets are amazing and pretty easy to adapt to - it's a LOT different when you hold the bass than when you look at it from the front. Actually, I'm still surprised when I play and I walk by a mirror, because they seem so... fanned but they feel mostly normal. I haven't played a super j, but having played a lot of dingwalls (prima, voodoo and Zs) I know I can only expect perfection from Sheldon.
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Well, not wanting to affect your decision since you have shown interest in my Aguilar DB924, but a thought would be to buy it, try it and, if it's not what you're after, sell it for a similar price and try the sadowsky. These are expensive to buy new and not too easy to find used, at least in Europe. Anyway, that said, I believe you'll be happy with either one, both are top quality brands. No complains from the Aguilar here anyway, other than I don't have a use for it anymore.
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aaand replied!
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BTW, still has the original strings on (as it has hardly been played) and is currently tuned E-A-D-G-C.
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That's right, a bass cello. These are not very usual in the used market, as they haven't been out for a long time and they are rather unique instruments. More info about them here: [url="http://www.nedsteinberger.com/instruments/basscello/crbasscello/crbasscello.htm"]http://www.nedsteinberger.com/instruments/...crbasscello.htm[/url] So, I bought this around 18 months ago (not really sure, between 1 and 2 years ago anyway) from a guy in the US who had bought a LOT of high end basses to try from the comfort of his home and was blowing out the ones he decided not to keep. So, he said this was played for 3 hours and I have no reason to doubt that, as it came in almost as new condition. The only "flaw" it had was some subtle "lines" on the fingerboard, where the strings make contact, which of course is unavoidable in any fretless bass (I don't know if epoxied fingerboards are any different). We're talking really subtle here - I am only mentioning it because it is the only thing on this instrument that shows it has been played a little. I bought this hoping I would get used to it, but it turns out I'm more of a fretted guy, so this hasn't seen any more than 10 hours or playing in total from me during this period. Never gigged, never rehearsed with, only stayed in a smoke-free home and taken care of. I had thought of selling it before, but since it is such a unique instrument (with a really beautiful sound, especially when bowed) I always thought "give it one more chance, you never know". But I'm getting married soon, so I need all the money I can find, and I decided to sacrifice it. The lowest price I have found is from thomann, 2400 euro, and it usually sells for 3000-3100 euro at national NS Design dealers (at least that's the price at the spanish and greek dealers). My price is 1800 euro, 25% off the thomann price, which, if you consider the condition this is in and how hard it is to find a used one, is not bad at all. It also comes with a bow, whereas a newer one shouldn't - it was advertised by NS design that, whoever bought one during the first year of sales, would get a free bow. We are well beyond that first year, so I don't think you can find one with a bow now - this means extra money if you want to take full advantage of this instrument. Paypal is ok, although I prefer a bank transfer or maybe even cash on collection, we'll see. A friend is coming to London soon, maybe he could bring it along, I'd like to take advantage of that (would save us both the shipping costs and risk) so hurry up if interested!
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[quote name='dave_bass5' post='53503' date='Aug 31 2007, 07:17 PM']I am worried that the reason i dont get on with my UL212 is because its a 212 and thats worrying me that i might just feel the same about the 1212L as well but im hoping the 1212L will have a bit more mid range punch.[/quote] Oh, it will, it will...
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Well, both the basses warwickhunt posted were made after 2000. In 1999-2000 Warwick stopped using wenge as their standard neck wood and replaced it with ovangkol. IMO (and most people's it seems) wenge feels much better, actually it's my favourite feeling neck wood. Really satin feeling (with warwick's finish anyway). Wenge is now a custom shop option. So, although I don't know how much your SSI is worth, I would assume it's at least worth more than a newer one, especially if it's in great condition as you say. There were a few other changes as well, for example yours probably has the early brass nut as well.
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250 seems about right. That's how much I sold mine a few months ago (but it was mint).
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Personally, I would order some ebony wood knobs from that cheap ebay seller someone mentioned in another thread. Anyway, between gold and black, although I would normally say black without second thought, I agree that it works on that bass. So, I think I'm leaning towards gold.