Beedster

41 minutes ago, kevin_lindsay said:

Yes, the white lines looked a bit harsh on the edges, so I stained the chamfered edges to soften the overall look. 

Nicely done mate, what did you use?

1 hour ago, proy900 said:

Hello all,

 

A promising opportunity has arisen for my band to make use of a space for rehearsal for an egregiously small monthly fee dwarfing quite considerably our outlay for our current room, which means we would give up our 12 years long slot in a wonderful, acoustically treated, 500sq/ft studio fitted out with a high-end PA and desk. We will have to setup our own PA in the new space of course as it is not a space intended or made for musical endeavours.

 

Due to our local music venue closing it's doors recently we have been able to obtain a Peavey Power Amplifier and 15" speakers, desk, stands, cables etc... etc...

These bits of kit were never used together and the venue owner wasn't able to give any insight on if these were a suitable match.

Now none of us in the band understand the magic smoke that is power ratings for these kind of things, and I'm really friggin' dumb; so can anyone advise if the following equipment is fit for purpose. Please can any advice be explained as if you were providing a teachable moment to a 5 year old, which coincidentally is my approximate reading age.

 

Peavey PV-1200 Power Amplifier (link to manual > PV-1200)

Peavey PRO-15 (MK1?) 4ohm 600w speakers (Cannot for love nor money find the manual for this model, only the 300w 8ohm MK2 version)

Behringer X2442USB Mixer

 

I'd really like to know if putting two guitar modelling boards, 3 vocal mics, and an ambient backing track module through this setup to play modern metal stylings, at not entirely cranked volumes, is going to cause damage to, or small fires within the equipment.

In case you wonder, my bass will be running through a wonderful Ashdown ABM 8x10 EVO separate to the desk because the flap is strong with an X7 and 900w DG Microtubes. 

 

Thanks in advance for any advice proffered.

I’m sure if you let us know where you are someone could help out in person? 

Nice 👍

1 hour ago, Terry M. said:

Thanks. I love these nuggets of information 😊

Likewise 👍

Did you age the pickguard?

Lovely @kevin_lindsay 👍

I'm not sure where I got this from (either here or TB I imagine), but when I bought my EBMM US SUB in around 2005 I read that EBMM were using bodies for the SUBs that were considered of insufficient quality for the EBMM 'rays (weight/grain etc), and as the SUB bodies were polar I'd assume the same was true of at least some of the rays. Happy to be corrected, but given that the PP is also poplar it suggests that there's some truth

1 hour ago, HeadlessBassist said:

it has natural boost in all frequencies

So it's louder  

32 minutes ago, Kev said:

I'm broke, but I nearly broke my finger rushing to click on the first link.

 

But of course, it's in Japan and very much not £2.3k 😅

But rosewood board...... 👍

6 hours ago, drTStingray said:

Actually, “they” have - available via the configurator on the Custom Design Experience for a year or more!

 

Exactly, custom, not a regular line 👍

14 minutes ago, Sibob said:

Personally I think the price is perfectly reasonable for what it is. Do I think it’s accessible to every player, of course not, do I think they’ve priced it towards Pino fans with a decent disposable income whose main hobby/business is ‘BASS’? Absolutely, especially at the quantity they’ve made.

 

Without having read about the release at all, I assume it’s 10 pieces of each of the fretless and fretted, if so, they’ll sell 10 of the fretless all day long at that price IMO. The only part I find odd is the fretted version. I get that more people buy fretted instruments, but it’s got nothing to do with Pino’s legacy on that particular instrument. Personally I’d probably have just made the fretless and increased it to 15 or 20 pieces worldwide. But what do I know 🙃.

 

I too found the mismatched body jarring, and it would be unforgivable at this price-point on any other bass. However, from an authenticity standpoint, it’s basically the same as relic’ing right?! You either love it or hate it 🙂

 

Si 

Agree, likewise Fender make fretted Jaco and Tony Franklin versions of their respective sig instruments, it’s a case of offering what is likely to sell I guess 👍

I'm guessing that Pino's original was poplar hence the choice for this signature bass. I've always thought of poplar as an utterly characterless wood visually and tonally, but the species of wood makes far less difference than the characteristics of the piece(s) of wood in the instrument in question    

3 hours ago, Richard R said:

 

Possibly accompanied by grazed knuckles and a repeatedly bumped head? Or is that just me and rewiring?

 

And of course there will be that time when you thread a really long XLR all the way through the run - only to realise you've got it the wrong way round. 

 

10 minutes ago, WinterMute said:

I have, on occasion, wired a d-sub before realising I'd left the cable support clamp off...

 

Thats why I now use the ones that come in 2 parts...

 

Grazed knuckles... check.

 

Bumped head... check.

 

Swearing... check.

There are few things more guaranteed to really piss me off that having to crawl under my desk to...

a) insert/remove/replace a cable

b) find out why the insertion/removal/replacement in the previous step hasn't achieved its objective

c) undo the collateral damage inflicted on other cables while working on the previous two steps

One of the most significant evolutionary design flaws in the human psyche is the elevation in anger associated with tasks that require low levels of anger to be executed successfully     

Thomann also offering both, some inflation....?

39 minutes ago, snorkie635 said:

Love ELO, but much prefer the 70s version of the band.

Like so many 80's bands, the current incarnation feels like a tribute act 🤔

3 hours ago, Wolverinebass said:

I'm surprised the normal one is actually less than 4 grand

Perhaps it's not an especially good bass?

Of all the FL basses I've owned, ranging from Squiers through MM (both pre EB and EBMM), Fender Ps and Js up to the Custom Shop Jaco Relic, Ric, Status, Modulus, and Wals, I'd rate the 'Rays as those I liked the least, the baked-in tone works on fretted for me, but much less so on FL. I might be wrong but given EBMM have pretty much stopped producing factory FLs over the last few years suggests I'm not alone? 

So that’s why they’ve not been making FLs for a while 🤔

Nicely done BC, lovely place full of lovely people 🙏

2 hours ago, saeisman said:

I am based in the US in San Diego

Ah, sorry I wouldn't be able to get it to you I'm afraid 

What Mesa did you get @Raslee ?

36 minutes ago, Cosmo Valdemar said:

He has limited movement in his right hand because of the needles and pins (ah).

That's a full detention for you Valdemar 🤣

18 hours ago, PaulWarning said:

seems to be the modern way, bass is there to add bottom end, nobody knows what a bass does until it's not there

Bass instrument in low register note playing shocker  

1 hour ago, stewblack said:

I have an Ashdown CTM 100 and an SVT CL 

The main and massively important difference is weight. The SVT is a heavy, heavy beast.

Sound wise, and this is just my opinion, nothing on earth compares with an SVT. It has to be that good or no one would ever bother to lift one. 

It's a bigger, louder amplifier than the CTM but there is a bigger CTM you can buy. 

The Ashdown is a beautiful amp, but the SVT is an experience.

All true, but…..

Ashdown have a sound that is less obvious and less generic, although to my ear still no less powerful and musical than Ampeg. Having both, plus of course a Mesa all-tube head, is the way to go 👍

Still remember the first time I heard War Pigs, what a band

On 21/01/2025 at 16:15, Beedster said:

I gigged my Ashdown 200 Drophead for the first time on Saturday and could not have been happier. Tone was fatter and smoother than I'd get for the same volume with SVT but could still bit like an angry Jack Russell when needed. And I have to say, of all the big tube heads, I thing Ashdown take the prize for best aesthetics also, especially mine....

 

 

Gigged it again last week in a very different set, much more presence required, and again it was as good an amp as I could have hoped for. I kept it on the edge of break-up most of the time, occasionally pulling back into Motowny thump, but at other times unleashing the full

visceral power of the power tubes. Even my Mesa M-Pulse can’t do the latter, it gets very close, but…… 🙂