warwickhunt

8 minutes ago, RAY AGAINST THE MACHINE said:

Do you mean change E to B? 

You are retaining the tension of the E A and D and losing the tension of the G BUT most B strings are of a similar tension to a G string; ergo the overall tension remains relatively similar.

You might well get away with an appropriate width round file and simply broaden what you have.  

All the slots that those grub screws go into are the same size.

re. a tech - you will need to set the bass up for the new tension, tuning, intonation but the one thing you've not considered is that you'll need a B string bridge saddle or the saddle you have widening BUT I'm aware that some B string thicknesses won't seat in the string ball end anchor but that might be solely down to your string choice.  

Yep that's easy.  As @tauzero has posted the pic and link; you simply buy one of those and put it where you present E string slot is, then move the E A D down one position.  

Does your bass have this brass nut?

Unless you buy specific BEAD strings, you can just buy 5 string set and bin the G... probably cheaper that way.  

If you have the adjustable brass nut, any self respecting luthier should be able to take a file to broaden the shoulders of the slots OR see if you can source just the B string stud for a 5 string and then simply utilise your existing E A D but move them up 1 string.  

Don't buy the plastic adjuster nut as they are cack, you'd do better to get the luthier/tech to simply file you a new blank nut (do you really need to adjust it?).

18 minutes ago, Sean said:

The patch I’ve done this morning uses that same split at 500hz. Mandarin 80 for the highs with 412 Mandarin Cab and Mandarin Bass 200 for the lows with the 6x10 Cali Power. 

 

Then I’ve saved another patch that is just into the G Cougar 800 with 6x10 Cali Power and as good as it is, it’s not bi-amped and doesn’t have anywhere near the same impact. 

 

I’m happy to share these patches as starting points if anyone wants them. 

 

One question on the HX Stomp. Do I need to carry one of those jack to XLR DI boxes to give the man my HX stomp out?  So, as in HX Stomp “Send” (front RHS) to Behringer DI100 type of box? 

Have a listen to a couple of the clean guitar amp sounds (sans cab or replace in a amp/cab mix), I think it is Placater (whatever that is) that worked for one of my set ups (still creating and comparing).  

I also like the sound of the GK800 and I'm using it in on various other set ups; oddly I'm not so keen on many of the big bass cab models, again I like some of the guitar cab tones or possibly the Epi 112.

re. DI from Stomp - I carry a TRS > male XLR for going out to stage boxes but tbh most live engineers can sort that easy enough.

On a personal level my 'attempts' to do the 12 string justice have thrown up more questions than answers!  LOL

If you are in a position whereby you have TOTAL control of the FOH sound then you can go the full Tom P route and use the amplifiers/cabs of choice (roadies will transport them) and you can have DI's or mic'd cabs to suit, with an engineer who works for YOU and will mix it as you want.

However...

That is rarely the case for most of us and transporting gear is a consideration, as is who is in charge of your live sound and how much say have you really got?  Even if you are hiring in or using an in-house engineer paid to make you sound good, sometimes (nearly always) they know what a bass should sound like (not a 12er) but you are pretty much on the lowest rung of the priority ladder and mic'ing / DI'ing multiple sources and mixing to your desired end result.  I've come to the conclusion if you can get the best mono signal from whatever sources you need (pedals, splitters, Helix etc) and you can present a premixed feed to an engineer you're more likely to get close to what you want.  

I did a gig where I had a split signal (1 feed bass to bass amp/cab, 2 feed top end to a guitar combo) and despite my clear instructions it was apparent that during the first song the top end was muted and the rest of the gig was done with my 12 string (everything below 500hz) going through the PA with a bit of an indistinct tone.  Conversely, I did do a multiband line up and the engineer bluntly asked if my bass was meant to sound like that (bit of dirt on the higher frequency split of the 12er) and when I said 'Yes', he just left it as was... result.  

Slightly different scenario if it is your backline sound that you are sculpting which will either be just for your benefit (in which case see above re FOH) or you are in a small enough venue that your backline is carrying the bass to the room.  

I'm a new advocate of the HX Stomp and I have it set up for some global EQ at the start > active split > 1st path is below 500hz and is processed very little other than an amp (no cab) / 2nd path above 500hz is passed through an OD set quite subtle (grit rather than distortion) > these paths are then blended at a vol/level to suit.  I was considering sending path 1 to a separate output than path 2 which could be sent to 2 power amps/cabs/combos OR the 2 paths sent to 2 desk inputs... but would the engineer blend to 'my' liking?  Maybe best to just give engineers a premixed signal and a 2nd premixed signal could be sent full range to a bass rig for on stage monitoring.

As I say, more questions than answers!  LOL

1 hour ago, Basvarken said:

Yes, for a Cheap Trick tribute in the USA, called Cheap Trip.
The customer now owns 7 Brooks 12-string bass guitars...😵

I know of whom you speak! 

Can I assume this is for a Cheap Trick tribute in the USA?

I only ask as I thought I was the only UK bassist in a Cheap Trick tribute (as opposed to someone playing some CT songs)... and much though I'd love it, I didn't order that bass!    🤣

So how will you now amplify your Hamer @Sean?    

I know you've mentioned bi-amp (from an HX Stomp was it?) and @Wolverinebass has been kindly offering advice.

I'd guess if it isn't officially available on Sandberg's site then it is an Ali-Express cheapie with dots and a logo!

You need something to create/shape tone and something to transmit that to your ears. 

At the cheapest end of the spectrum a multi-effects such as a Zoom MS60B (£60 used), IEM buds KZs maybe (£50) and transmitter/receiver such as Lekato (£50), will work.

A step up might be a better preamp Tech 21 etc (£100-£150), better IE (Sennheiser £100) and trans/rec (NUX £150).

You then start moving up to complex preamps, HX digital stuff (£350-£450), better IE and better trans/rec... prices vary massively now.

15 minutes ago, Si600 said:

Depends on his plea.  If he pleads guilty they skip the trial and go directly to sentencing.

This is where I think he's being clever; take the guilty plea for a few crimes, in a short time frame and not get it to open court where other misdemeanours could be dragged up.  

10 minutes ago, walshy said:

@warwickhunt ? Did you get sorted yet

Cheers Paul, I did get an HX Stomp but it is the XL and I am now wondering if I need all of the extra switches (and size) or if a regular Stomp would suit better! 

Sadly a judge will have to go by the guidelines and it is likely that all of his past, spent convictions won't be taken into account because of the timeline.  TBH that is probably why he is being taken to court for such a small time frame; were they to actually act upon some of his actions documented on here, then he'd be in the realms of committing crimes whilst still serving his 2 year suspended!  His solicitor has likely come to an agreement that they'll not contest the action if he is only tried for a small number of cases in a recent time frame! 

2 hours ago, ale29 said:

Thanks for your answers so far.

I'm positive that this is a 90s bass, serial number dates it to April 1995. It is a very cool one-off, with predominantly wenge neck, wide string spacing, black hardware, Bartolini PUPs and electronics and beautiful flame maple body wings. However, given the general consensus here (which agrees with my gut feeling about it), I think I shall pass on it

With that neck in 1995, a one off / custom order makes sense, especially with it being a broadneck 5 string.

That's a repaired neck break!  Though I'm puzzled as to why you are saying it is a 90's bass.  By 1990 Warwick necks were Maple with Wenge stringers; that neck is predominantly Wenge and likely an 80's bass.

'If' done correctly and by someone who knows what they are doing, a break can be repaired as strong as new.  However... the fact you can see it a mile away makes me wonder how competent the repairer was.    Unless it was significantly cheaper than other examples I'd just wait for another to come along.  Saying that, if this was repaired in the late 80's and looked like that when repaired, then it is 35 years with that repair so could be fine.  

58 minutes ago, dave_bass5 said:

I get what you are saying, and funnily enough i also found the SWR to be favourable over the SVT that i wanted to use. Also the Markbass. Both seemed to have more life to them. I was aiming for a SVT rig sound though. 

I tried a few presets at first but wanted to create my own. Dont get me wrong, i really like most of what im hearing, its just to my ears using headphones there is something in the sound, every sound, that is putting me off. I noticed a lot of the presets have multiple EQ blocks, i thought that strange. 

I wont give up on it until ive used it with the band. I feel that’s where it will work better. 

I'll agree that through IE/headphones there are are lot of amp SIMs that just sound too anaemic or polite.  Adding cab SIMs via my recent acquisition of an HX Stomp helps but some the classic bass cab SIMs are truly awful.  Simply scrolling without reading what a cab is, has revealed that some choices such as 1x12 'guitar' cabs sound as good as anything that is marked 'bass' and has improved the IE sound.  The MS60 does have a couple of cab tweaks which can really help.

13 hours ago, dave_bass5 said:

...60+ would be perfect if I  loved the tone. 

Do you have any preconceptions about each amp SIMs tone or that you simply didn't like ANY of the amp tones it has?  

I only ask as I scrolled through the amp sounds and I was underwhelmed that I 'really' disliked the classic SVT sounds etc BUT I stopped listening with my eyes and happened upon a couple of amp SIMs that I thought were good and with a bit of tweaking (inc some cab tones) they were very useable; in particular the SWR SIM.  I would never have delved into an SWR tone if choosing from any amp available but when I switched off my preconceptions I could really get it to work for me.  

RCF310 (used price £150ish).  We use(d) one as our single FOH PA for our Duo until I upgraded to QSCK10 for use in other band scenarios at which point the RCF310 became the floor monitor.  However, the QSCK10 has such a broad spread of sound that we can get away without the monitor and just get some bleed from the side of the single QSCK10.  

So what I'm saying is... the RCF310 makes a great monitor but it could also double up as a sole FOH speaker.

10 minutes ago, chris_b said:

 

Don't.

 

Learn from the mistakes of others. . . .

It's all about technique and posture... and if all else fails, having a couple of mates around!

Your pics make my 12 string look 'normal' sized!  LOL

A busy day for me on Sunday; set off from the North East 07:00 to get to Newark for a 12:00 festival gig, then across to Preston for an evening gig... then back home for maybe 01:00 on Monday.

TC Spark does not have to be full on 'drive', it can do very subtle (I have one).  I had the MXR and Ampeg Scrambler and I couldn't quite dial them back far enough... on the least setting they were 'almost' too much.  As you are on a budget, the TC works BUT you could also look at a Boss MS60B; it has lots of options in one pedal.  You could have the aforementioned compressor and/or a bit of OD and/or an amp sim to warm up your signal + you get a tuner and all the other effects for free.  All to be had used for about £60.