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maxrossell

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Everything posted by maxrossell

  1. [quote name='yituool' post='658554' date='Nov 18 2009, 08:59 PM']Yeah, but how much quieter would it be when run from the line-out?[/quote] I've just checked out the specs of the MB15. The speaker is hardwired into the head and there isn't a line-in jack, so your only option if you want to use the MB15's speaker is to plug straight into the amp's instrument input and use the MB15 as a whole second amp. The thing is that you can't plug a speaker output into an instrument input. You'll blow one or both of the amps. It's not an issue of quiet, you just can't do it. And even if you could find a way to bypass the amp head and only use the MB15's speaker (you'd have to cut the speaker wires and attach a 1/4" jack to them), it's not the correct impedance to match your Trace so you wouldn't be able to use it anyway. Basically, what I'm saying here is your ONLY option to run the MB15 as an extension for the Trace is to run the line out from the Trace into the MB15's instrument input. I don't know if there's much point to that, really, you wouldn't get any more volume out of the setup, although I suppose you could use the MB15 as a monitor or something. I'm afraid that your Marshall practice combo isn't going to be of any help in this matter. If you want more volume, you're going to have to invest in an extension speaker or get a bigger amp. Although to be honest I'm not even sure that getting another speaker is going to help with only 130w. If volume is your issue, if I were you I'd be looking into getting something more powerful.
  2. [quote name='Happy Jack' post='658506' date='Nov 18 2009, 08:22 PM']Big discussion in my band at the moment about volume levels and settings, not helped by the fact that I think the guitarists use their controls / pedals / amps in a fundamentally different way to me.[/quote] I could be wrong but that may have something to do with the fact that the volume pot dictates the amount of gain driving the front end of the amp, which for a guitarist means that if they roll off the volume pot they have less overdrive or distortion. It actually doesn't have that much effect on the db volume when running into a high-gain channel until below 5 or so, whereas on a bass the volume pot acts more like a master volume (unless you're also using gain breakup effects).
  3. [quote name='geoffbyrne' post='658473' date='Nov 18 2009, 07:54 PM']Assuming that nothing is actually attached to the plate, you could consider fixing it onto the bass with something like photographic adhesive spray - then you wouldn't need to put screw holes into your lovely bass. G.[/quote] True, although that would depend on the finish. It's it's poly then no problem, but adhesive spray might just eat right through nitro.
  4. [quote name='boabskiboab' post='658418' date='Nov 18 2009, 07:08 PM']Hey all, I have recently bought a G&L L2000 from a fellow bc'er. It is in a natural finish, but will be going in for a oly white refin soon. I think the bass would look sweet with a scratchplate. So my question is... How do i go about creating a scratchplate for a bass which never came with a scratchplate? Has anyone done this before?[/quote] You can buy blanks. If you get a grease pen you can outline the shape of what you want on your bass, and then you could cut out card of the right colour in that shape and see if it works visually. If it works and you like it, then you'll need to trace the shape accurately and then cut the blank to shape (use the right tools, or get someone to do it for you if you've not done this kind of thing before). You'll also need to decide where the screws go to hold the thing in place and intact, but you don't want too many of them. Most scratchplates have between eight and twelve screws, you don't want more than that. You'll also need to think about what routes you'll need to make to accommodate any electronics you're planning on covering up.
  5. Yeah, don't take it too personally that they still wanted to see some people after you. It may just be that they promised some other people auditions or something.
  6. Hi! I need your advice or clarification, if anyone out there owns rack gear (must be a few of you). I'm going to buy some rack gear shortly, and I have a piece of furniture which I believe would be ideally suited to housing it, although it's not actually a rack. It's like a couple of little Ikea shelf units, with open backs. The opening is 17.7" wide, and the sides are 1.4" thick, for a total width of 20.5", so not only should there be enough room to house 20U of gear, but I should also have enough room on the sides to screw them all in place. I believe that the standard size for a rack unit is 19" wide across the front panel, and 17.36" wide for the back part (i.e. the width minus the "ears"), is this correct? If someone could grab a tape measure and let me know, that would be totally awesome. Cheers!
  7. [quote name='Mr. Foxen' post='657764' date='Nov 18 2009, 01:50 AM']I'm after a Speakon to bare ends cable to use with a PA amp with binding posts if you have something suitable.[/quote] Speakon I'm afraid is one of the kinds of cable we [i]didn't[/i] find in there.
  8. I'm not actually being sarcastic. I don't normally enjoy the twice-yearly cleanout, but this one has yielded some gems. The building we're in has bands sharing rooms, but due to circumstances we're on our own at the moment, which means that everything in our room is technically ours. Normally that means we inherit about four hundred broken drum sticks, a million fag-ends and six billion empty drink cans, but this time as well as all the other usual crap we found that over the years we've accumulated a spectacular amount of cables. Stuff we didn't know we had includes a half dozen XLR-XLRs, a few XLR-jacks, something like thirty instrument jacks of various lengths and maybe another thirty patchbay jacks, plus two or three dynamic mics I've never even seen before, and a completely intact mic stand. We also have a bunch of four-ways that are entirely new to us. Oh, and a load of kettle leads. You'd be amazed at the stuff bands leave behind when they vacate a practice room. If I tried to buy all this stuff we just found I'd be down over two hundred quid. Wahey! What weird stuff have you found lying about in the corners of practice rooms? My best find to date has to be that all-valve head I have going in the for-sale section at the moment.
  9. [quote name='LawrenceH' post='657738' date='Nov 18 2009, 01:06 AM']Oh, sorry for double posting, but although it's an 'industry standard' the SM58 is often not a great mic on female vox, especially through cheaper (read: not turbosound, nexo etc!) speakers. It does male rock voice very well, but for women it often lacks clarity and body in the mix which equates to not enough perceived volume and feedback problems. 9 times out of 10 I've had more success using a stage condenser with a bit of treble roll-off to tame feedback. Or the Sennheiser dynamics (e845/945 up). But mic choice is very much dependent on the voice, there's no one-size-fits-all solution so you HAVE to try them out for the person. Shure SM87a is often a pretty good bet though. Food for thought, anyway.[/quote] I also agree with this. My backing vocalist uses a Sennheiser and it would be far better for a female vocalist than an SM58 as it doesn't have the midrange presence spike and flatters the bass end a lot, which is usually good for female vocals.
  10. Get the cheaper one. A board is a board.
  11. I notice you say "she". I don't want to jump to any conclusions, but is she a quite quiet singer? The reason I ask is that a noise gate might be a solution, but that will only work if she has good projection (if she doesn't the gate will step all over her quieter vocals). You can pick up like a Boss NS-2 for a handful off change on the 'bay, and run it all the way up as an insert on the desk.
  12. [quote name='Beedster' post='657713' date='Nov 18 2009, 12:31 AM']Don't change that bass, it's f**king ugly but has character and history, and they're important. Do you really think 1-2lbs weight reduction will make a significant difference? You could spend a lot of money on basses when a few sessions with a physio working on posture etc could be money far better spent (equally yoga, Alexander Technique, even lifting a few weights). The sad truth is that most guys I know who've dropped a few pounds in bass weight due to back/shoulder/neck pain still get the same pain after a time, it's often how were playing, not what we're playing, that's key. That bass is special, keep playing it dude C[/quote] This, totally. I play Les Pauls, which are heavy guitars, and for a while I was playing a Custom whcih was like a lead weight around my neck. I switched to a Standard which was far lighter, but I got the same pain. I started doing some back exercises and eating better, and hey presto, no more pain.
  13. I think a P is probably my favourite rock bass tone, with a J a close second. I think the J is maybe better for softer stuff, with the back pickup rolled off a tad. For rock I prefer to play a P, just because it's got a bigger neck.
  14. Nah, I saw that too. It's the real deal. You can tell by the size of the handles.
  15. The one I've got is a current Std and it's not ply (it has a trans finish). I dunno about Affinitys though.
  16. [quote name='retroman' post='657643' date='Nov 17 2009, 11:24 PM']Reference above comment about Squier's being s***............... I've got a Squier Affinity series Jazz. It's very well built, came very well set up straight out the box. I've fitted a better bridge, upgraded it with the EMG J set, and it is now the main bass I use for practice sessions, and my main back up bass. I have several basses that cost £1K PLUS. I still have change out of the price of a Mex Jazz, and in terms of sounds, and build quality, it just makes the USA models look a complete rip off Being a "real" Fender is only a headstock decal away........ [/quote] I have a Std Squier Jazz and I'm going to fit a 62 Fender decal on the headstock. After I've refinished it and changed out the pickups. It is after all a Fender, and it's not like I'm going to sell it. And like you said, it'll still have cost me less than a Mex Std, and I agree that MIA prices are outrageous. But then if I had paid someone to do all the work on it for me, to get it up to a standard where it'll be about as good as a good Mex Std, it would have cost me more than the price of a Mex Std.
  17. [quote name='yituool' post='657533' date='Nov 17 2009, 09:58 PM']I tried it throuhg the amps line-out and got sound. I don't think I need a bigger amp, I just need more than a 10" speaker to get more power out of the amp [/quote] If you take a line out from the Trace then you can run it into the Marshall no problem. It's from the ext. cabinet output that you'll have trouble.
  18. [quote name='yituool' post='657507' date='Nov 17 2009, 09:31 PM']The manual says it's 15w at 4ohm, I'm not completely sure whether that sure whether that means it would be 4ohm when connecting another amp. Does that mean that this should not be attempted?[/quote] Unless the speaker has a 1/4" jack that can literally be unplugged from the combo's head (which I don't think is the case on the little Marshall practice jobs) then you can't run your other amp through it. You can't run a speaker output into a line-in. Best case is you won't get any sound, worst case is you'll blow a transformer in your Trace, and possibly the Marshall's power section. You either need a bigger amp, or an actual extension speaker.
  19. [quote name='Dubs' post='657348' date='Nov 17 2009, 06:53 PM']There's little truth in any of that.[/quote] Yeah, but it's only my opinion so it doesn't matter.
  20. 1973 100w valve Selmer PA 100 SV head This is a Selmer four-channel 100w all-valve power amplifier. It is point-to-point handwired, and British-made (I believe the factory was located in Essex). According to the information I have been able to find on it, it is a 1973 model. The serial number is 80655. Each channel has 1/4" jack input and a volume, a bass and a treble control. There is also a master volume which controls overall output, and an effects loop (it is called "Echo", although it is suitable for reverb and other effects). It has two 1/4 jack outputs for the speakers, and the Ohm selector allows you to choose between 3.75 (4), 7.5 (8) and 15 (16) Ohm speakers. There is also a 100V option. Selmer billed it as a PA system, although the circuit design is very similar to the better-known two-channel Treble n' Bass model. It would serve excellently as a vintage all-valve 100w guitar or bass amplifier (you can get some beautiful breakup if you push the channel volumes, and with three A/B pedals you could even make yourself a four-channel amp). And of course it would work equally well as a mono PA system (it will run two speakers but has no panning function). It's a genuine piece of rare and esoteric vintage gear with an amazing sound and a very cool look that will set you apart from any other musician out there. It is in good cosmetic condition considering it is 36 years old, the metal front is slightly tarnished but mostly clean, and it is missing the steel cap on the master volume knob (although the knob is intact and works fine). There is also a crack along the edge of the Ohm selector dial at the rear of the amplifier (but this also works fine). The vinyl cover is in remarkably good condition for its age, there is only one very small tear at one of the corners, and the underside on one side is a little loose. The corner protectors are all present and original. The power cord is hard-wired into the head. The Power and Bypass switches are original and still light up during operation. The carrying handle is also intact and original. Inside the amp there are signs of age (mainly some rust and dirt), and it is likely that whoever wins this amp will want to recondition it. The six ECC83 preamp valves (unknown brand) are still working, however one of the four EL34 power valves has blown (one of the EL34s is a tung-sol, the others are unknown brands). The amplifier powers up, all the channels work, all the dials are functional and it outputs fine, however it is noisy and feeds back a little, which I suspect is down to the blown power valve. There are a few other minor alterations which have been made to it over the years, I believe a few of the pots and most of the 1/4" jack inputs have been replaced as well as a few of the mounting bolts, however other than that as far as I can tell it is mostly original. I have unfortunately not owned the amp long enough to be more specific, but I am reasonably confident that the transformers and circuit board are all original. This is an extremely heavy amplifier so I would ideally prefer collection, however I am prepared to make arrangements to ship it if necessary, so please contact me for a quote. If you collect I will accept cash, however for shipping etc. I only accept paypal. Also I will not ship outside the UK. I'm based in Preston, Lancashire. The price I have chosen I believe accurately reflects the item's current condition given its age, and its rarity and value as vintage musical equipment, allowing for the price of a full service and power section revalve. Please bear in mind that although the amp works I am selling it as not in full working order, and as such I will not accept returns, but you are welcome to fully inspect it inside and out before you buy, as I have to tried to be as honest as possible about the item's condition. Grab yourself a piece of British music history! £250
  21. Hey boys n' girls. This is one for the vintage gearheads [url="http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=160379114316&ssPageName=STRK:MESELX:IT"]http://cgi.ebay.co.uk/ws/eBayISAPI.dll?Vie...=STRK:MESELX:IT[/url]
  22. [quote name='6stringbassist' post='657262' date='Nov 17 2009, 05:50 PM']So why can't people be bothered to reply to me when I answer their adverts ?[/quote] - Most musicians couldn't organise a p***-up even if it was at their house and you delivered the beer and the guests to their door. - From experience, half the time when people are "starting a band", they give up as soon as they realise that running a band takes time, effort and money. - A lot of bands, when looking for bassists, will just hire the first guy who strolls through their door because they think that any idiot can play bass since it's just a guitar with fewer strings. And of course, they won't bother to let anyone know that they're not looking anymore. - Conversely, a lot of bands will make a snap judgement about other musicians, and may choose to not hire (or even audition) a perfectly good bass player because his bass is the wrong colour.
  23. [quote name='Earbrass' post='656901' date='Nov 17 2009, 12:47 PM']Given the quality of many cheaper basses (see the Budget Basses that do a Pro Job thread, or OutToPlayJazz's recent review of Squier CV vs Fender MIA), there's a strong case for saying that a (real) Fender Jazz or P-Bass is a waste of money![/quote] Agreed. But then I am one of those morons who will pay a little bit extra to get a classy label on the headstock - although considering we're still only talking a few hundred for a new Mex it's not exactly luxury snobbery. I just like having a Fender and a Gibson and a Marshall. They're what I've wanted since I was a kid. And let's face it, if we were all really pragmatic and reasonable about what we spend on gear, none of us would have any gear at all. For most of us music is a fantasy hobby that costs us a bunch of cash, so we might as well embrace that and indulge ourselves where we can. That, plus I think there's a lot of bizarre generalisations going around. Sure, you'll find a Squier model or two that plays better than a Fender Mex that would cost you maybe a hundred quid more, but on balance most Squiers are still pieces of s***, and most Fenders are still pretty good instruments. That said I do think that MIA Fender prices take the p***. £900 for a Precision? Anyway, thread back on track. Line6 bass POD, or any Line6 product for that matter. Absolute tone-killers.
  24. [quote name='EBS_freak' post='656677' date='Nov 17 2009, 09:06 AM']You miss the point. It doesn't give you just the lower notes. As just one example, it gives you access to notes (granted you may have them elsewhere on the neck) further up the neck... this means you can play in different positions with less movement.[/quote] I understand that, but honestly, I don't see the advantage in a trade-off where you get a little bit of extra note access some of the time in exchange for a neck that's huge all the time. It's the reason I don't play a seven-string guitar. Sure, I'd be able to get to a low F if I'm playing around the 6th fret, but if that means having to play a neck the size of a cricket bat I'd rather just reach for it. In fact usually reaching for it adds a bit of extra character to what you're playing. [quote name='Veils' post='656681' date='Nov 17 2009, 09:12 AM']I appreciate you have a point of view, but have you ever played anything other than a Fender? Seriously dude, there are instruments selling for more money for a reason...... And just because someone has 5 extra notes you expect them to widdle or be crap?[/quote] Yeah, I've played all sorts. When I started playing bass it was incredibly unfashionable to own a Fender. Everyone had Ibanezes and Peaveys and MusicMans and Yamahas and Jacksons and whatever else. My personal conclusion was that all of those basses were more flattering [i]for the player[/i], but didn't actually do anything more for the music. It's like with guitars - Ibanez have gotten player comfort almost down to a science, with ultra-fast 24-fret necks, incredibly versatile pickups and switching, super-lightweight bodies, fancy finishes, trems that never drop out of tune... But what do the greats play? Big old Fenders and Gibsons, because they sound better. To be fair 5-strings are now so ubiquitous that I don't automatically expect someone with a 5 to be a widdler or crap - although you don't often see someone who actually uses the low B to any particular effect. Most of the time the guys I see with 5s barely touch the fat string. But every time I've seen someone get out a six or a seven (or more), what has followed is a set where the dude has basically made damn sure to get his money's worth out of every single extra available note - more often than not at the expense of the music. I hasten to add that all of this, again, is just my humble opinion.
  25. I suppose I'll be bucking some trends here, but honestly in my opinion anything other than a Fender Jazz or P-Bass is a waste of time. I also don't get having more than four strings. The lower B just gives you five extra notes that most people never have a need for at the expense of a reasonable-sized neck, and the higher strings on those gigantic six or sevens just sound piddly and weak. Again, just my opinion, but whenever I see a bass player with more than four strings on his bass I expect either some seriously boring overindulgent widdling, or just a shoddy performance by someone who hopes that people will assume he's really good because he has extra strings. I really, really dislike the look of these overdesigned luthier basses that are made of sixteen different types of contrasting wood, all of which would be better suited to veneering a French dresser, and they all have fourteen strings and fanned frets and weird body shapes and pickups at funny angles and generally look a bit like someone nailed a ladder to a goldfish. And you never actually see anyone playing them live, presumably because there aren't many bands out there where the guitarists have twelve-neck guitars and the drummers have a 400-piece kit. After having spent some serious time in studios recently, I don't actually see the need for bass amp heads. Speakers, sure. But every time we tracked bass, we'd go through the gear we had to find a match, and every time without fail we passed over Ampeg, Markbass, Peavey and Mesa bass heads in favour of an old Marshall guitar head. And you tend to pay a little bit more for bass amps ayway, and they're usually overdesigned to the point where if something goes wrong it's out of commission for ten weeks. I don't get bass effects, either. Put it this way: A bass player with a load of effects on the floor is either doing something radically new and different, or he's just forgotten what the bass is for in music. Usually it's the latter.
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