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Deedee

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Posts posted by Deedee

    MUSICMAN PORN THREAD

    in Gear Gallery

    Posted

    1 hour ago, danny-79 said:

    @Deedee inspired by your single ply matte black pg I have ordered one for my SR4HH. Mines an older bass, 06, in sapphire black, it’s got a snake skin looking thing on it at the moment that I’ve been assured is original but not my thing. I’ll put some before after photos up when it arrives but if it looks anything like what it looks like in my head then I’m impressed already 

    Nice one, I look forward to seeing the photos. I’ve always been amazed at how erm, ‘far out’ some of the stock EBMM plates were. Understated is the way to go as far as I’m concerned.

    • Like 1

    Get your STATUS-GRAPHITE basses out!

    in Gear Gallery

    Posted

    3 hours ago, martthebass said:

    Apologies for the poor pics but I’m rubbish with an iPhone unless it’s outside and the lighting is good. The CW sig turned up within a week of me placing the order and Rob was kind enough to fit the Schaller straplocks gratis. This really is a well made piece of kit and certainly exceeds my expectations. Not sure how it fits with my eclectic bunch of 34” scale basses which now comprise this, a Ric 4003 and an EBMM Sterling but I look forward to the experience.

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    Beautiful Mart. Congratulations 👍

    • Like 1

    SOLD - EBMM Stingray 4H 2EQ - 1992 - Teal/Rosewood - More Pics Added

    in Basses For Sale

    Posted · Edited by Deedee
    Sold

    I'm thinning the herd so this beauty has got to go. It's a stunning bass with a beautiful birdseye/flame maple neck that many 'rays of this era are known for.  This bass also had a fret level and set up by John Shuker last year.

    It comes with a hard case which I believe is original.  It's not one of the Musicman moulded cases, but I've been informed that it's a SKB which were used along with the G&G cases around this era.  It's certainly made for a Stingray as the inner moulding at the headstock has the lower cut-out for the G tuner.

    • Manufactured 29th October 1992
    • Maple neck with Rosewood board
    • Ash body
    • Translucent Teal finish
    • Matt black/white/black plate
    • Metal battery cover
    • 'Off-set' string entry type bridge with mutes
    • 6 bolt neck plate
    • Weight 9lb 13oz
    • Neck width at nut 43mm

    It's in wonderful condition with only a couple of indentations to the finish on the body (nothing at all that has gone through the finish). 

    I'll try to capture these and add photos later.  EDIT - Photos added showing the worst bruises I can capture.  As you can see, they take nothing away from the bass. I'm just trying to be thorough.

    Collection or meet up only on this at present as I'm short of packaging materials. I am however willing to drive a fair distance for a motorway services rendezvous! :ph34r:

    Not interested in any trades at this time thank you.

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    • Like 16

    Trace Elliot V-Type V4 MK2

    in Amps & Cabs

    Posted

    4 hours ago, basexperience said:

    @VTypeV4 - I'm late to this thread, but that's an epic review. Just epic.

    I'm lucky enough to own a V4 chrome-knob head, but the tale of the amp is a long, and hard one, with a happy ending.

    She was bought in Andorra (in Pas de la Casa) by Breeze (from Oxford), who were playing the ski season in Soldeu that year. They had no idea what they were buying was quite so special: they just knew it was one hell of an amp. A V4 Mk2 all-valve 1x15 combo!

    They used this amp for many, many years and when I depped bass for them (we played as Janeiro in the Aspen Bar in Soldeu in 2007) I brought a 2x12 TE cab I had at the time (they helpfully lugged it all the way there in the van). An absolute monster of an amp, they'd never so much as had it serviced in all that time: the covering was already off in places, and during the season I had to repair the speaker cone with superglue and duct tape(!). She ate up night after night with huge tone, barely running and filling out the whole bar (no PA feed required).

    Fast forward a decade from there, and the guys finally managed to completely break the combo, purchasing a small TE one to replace it as a stage monitor: by this point their PA was much, much better. They then realised how rare the amp was, and the drummer tried dismantling everything, removing the head from the combo, etc (the speaker was long gone), but he didn't get very far, and the pieces were cosigned to a draughty, leaking(!) shed. I did a couple more gigs with them, and they told me about the V4, so I told them I'd love to do the amp up for them. When I costed it out (there were busted tubes, it needed professional help) they got a little less keen, but then stunned me by asking if I just wanted to have the amp, as they said I knew how special it was and I would look after it.

    I spent a month or so stripping the cabinet, but sadly it was completely shot: the top had come off and no amount of woodwork was going to bring that MDF back in a way which would take those earth-shattering lows. Deciding it might be a good idea to turn it into an amp I could use at gigs without needing a van (the V4 combo was a 2-man lift!!) I decided to turn it into a head, furiously researching how the V4 heads looked. I didn't have a front grille, so I decided to get Zilla Cabs to do something which would approximate that - and they came through strong! I also took the handle arrangements from both the V4 and the V8 heads and now have 3 handles on top - one in the middle, 2 on the edges - which makes for much easier lugging about. Zilla worked totally remotely from schematics I made of the head unit, including valve clearance and position for the heat grille on the top.

    Electronically - to my astonishment - the amp had actually survived all the abuse, the beer (2 power valve seats actually had dried beer caked around them.... I AM NOT KIDDING), and even the capacitors were still good. This thing is just immortal. And now she's gigging again.

    The result is a beautiful, amazing amp, with more volume than the Warwick Pro Bass IX 900w head I have (it's ridiculous though a 1x15 and 4x10 at 4 ohms). The studio mode is very welcome, and the compressor, as you point out, is really nice, very musical. I've got an aftermarket footedal which works a treat on the channel switching and compressor on/off.

    Here's some pics of what Zilla did, and the amp ready for a function gig a couple of years ago. I think the approximation of the front grille is pretty cool, like some kind of boutique amp. Either way, she sounds amazing.

    Thanks again for an amazing review. I had no idea these were so rare.

     

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    Great work 👍

    • Thanks 1
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