JTUK

[quote name='MoJo' timestamp='1447578793' post='2908577'] £150 or £1500, if there's no mention of a truss rod issue, I don't expect there to be an issue. These basses were close to £500 new and are only so cheap second hand because that's the current market value. I have the matching 5 string Cirrus BXP which I also paid £145 for and is in perfect working order. The build quality is higher than the £1800 Rickenbacker 4003 that I owned [/quote] But again, why was it £150... ? that is firewood money even if £500 new... as distribution retail would possibly be half that. I sympathise that you were sold a dud, and hope you get your money sorted...and the deal sounds not at all good, but I would think a bass for that money is worth having even without the truss rod issue. I've never thought Rickenbakers were the benchmark in build quality and they had the same issues with mile high action on banana necks. But yes, I agree the bass should be returned...

Did think about a neck thru but didn't check back thru the thread.....oh well. This was always the problem with Ric's ...no way out if the neck isn't good and those basses weren't cheap.

Main Clinton bassist thru the years....

I took my two basses to Sims in the last few years and I couldn't work out why he was so interested in the piant job... All he said after looking at them very closely was that 'they weren't done here' To me the paint jobs are perfectly good but he knew his shop hadn't had them in...but he did at that time do work for Sei as I needed some work on the neck and he was authorised to replaced the decals...

It is a write-off for write-off money. Use it as a 'project' or it'll end up in the bin anyway. If you are interested in that sort of thing, see if you can put another neck on. I understand that it is rotten way to conduct business but what did you expect for £150..??/ IIRC.. And leave a £150 loss worth of e-bay feedback..?

[quote name='Kiwi' timestamp='1447520853' post='2908310'] Is that the place that Martin Petersen uses too? [/quote] I believe he uses Sims... and if he doesn't, he only stopped recently..??

I like those divices, they capture a decent mix very well...so much so that I trust them to be pretty representative of the gig mix in general. Funny aside... I've got some very listenable recordings from a random quick fix poistion with just level sorted out, where the recording position was determined by the location of a power point as opposed to an optimum sound position, and the worst recording was obtained from a so called quality hired in rig, with the zoom right in front of the Mixing desk out front. Hmmmm what does that say about that FOH engr..!!!

I very much doubt it, but if you think so, good luck.

Is that the Zoom recording?

Good luck, I'm not saying that buyers aren't delighted with them... and maybe for good reason, I'd just want to see one and play one. There are very very few basses I'd buy blind and maybe only if I could easily flip it for the same money. That is a general thing... not aimed at this company. I'm thinking about a new Fender American Deluxe J5..and I've played them, but I'd want to be able to return it if I didn't like it as I don't believe they are all the same....hence wanting to see each bass on its merits, but that is just me

[quote name='brensabre79' timestamp='1447418388' post='2907506'] Yes! I use compression for everything! Not hypercompression though, thats the horrid stuff that squishes the life out of everything and it's popular with bedroom producers who don't know how to use compression properly. It's also unfortunately the sound that people most associate with compression. You shouldn't really hear a compressor working, unless you're looking for that sound as an effect. Think of it like an autotune for your dynamics - you can go full on Cher if you want, but it's most effective used in a subtle, almost invisible way. Need a bit more attack? Compression More sustain? Compression Want to hear all of the subtle nuances of your playing come out to the fore? Compression Want to even out your sound? Flange Delay (- no just kidding, compression). To all those who say they don't use it because it ruins the sound - you aren't using it right. To those that say it just decreases the dynamic range - ditto All valve amps compress naturally. So does analogue tape. So do most preamps. In fact the 'all-tube' and 'vintage' sounds everyone raves about and manufacturers try tirelessly to emulate - yeah, that's mostly compression too. THAT sound on the record you just can't seem to get anywhere near? Think about it. From the amp, mic-pre, desk, compression insert, tape, more compression, group compression, mix compression, mastering... it's been compressed about 8 - 10 times before it gets to your hi-fi. My advice: 1. Learn about compression and how to use it right. Used properly it can be the most useful thing in a signal chain next to EQ. 2. Have a look at ovnilabs.com for some helpful info on what compressor to get. If you've done No.1 right, you'll probably want one with lots of adjustable parameters (Attack, release, ratio, threshold etc.) so you can really fine tune it. [/quote] Hmm..so you couldn't play without it...herein lies the argument that some might say it is a crutch..?? Need a bit more attack? Compression - Or use your hands to attack harder.... common problem with a lot of players, they can't regulate attack. More sustain? Compression -Better bass, but how much do you really need..? I'd saw a 2 bar hold on a slow blues is minimum but whether a P bass with flats or gunked up 20 yr old string will ever do that, I'd doubt. (I've never got gunked up strings EVER...they feel disgusting in the first instance) Want to hear all of the subtle nuances of your playing come out to the fore? Compression -or use your hands. Want to even out your sound? Flange Delay (- no just kidding, compression). Sort you sound out. Personally, I think you should be able to not use it and sound good.. A common situation for it would be to even out those higher notes that might disappear but I'd be inclined to EQ that in and compensate in my general playing sound.

[quote name='cheddatom' timestamp='1447337455' post='2906832'] how do you shape your voice from boring (but in tune) to "grabbing"? Or does this just have to come naturally? [/quote] You can't..you either have or you don't. I'm racking my brains and singers round here range from 'not any cop at all, can hold a tune, good voice, great voice and stunning and on the local circuit there is only one that I know which grabs you and makes you turn when she sings. I've actually heard her do 'Whitney Houston's version of 'I will always love you' with no accompianment when she was 14... I think she could develop her voice with some training and coaching...as most could, but it depends from what point you start. She is already very very good naturally, even if she doesn't know much yet... She just has 'it' IMO.

[quote name='cheddatom' timestamp='1447343110' post='2906899'] Is this a current album? If so you might be able to get it louder by re-mastering. PM if you'd like me to give it a go I really don't think you're hearing the transient peak that happens in the first 1 or 2ms. It is entirely possible to set a compressor so that it's having an effect, but it's not audible. [/quote] Have to hear it, but the I really want it to spike... it is like musical violence and none of my compression programs/presets allow this to any degree that I like.. and tbf, never wanted it or thought it would benefit me. I think you only want to compress once...which is why I leave it to the final/top mix.

[quote name='Fisheth' timestamp='1446401666' post='2899118'] Yeah thought this would be the response, but I just wanted to see what other options were available before I went and shot the email off. [/quote] They look good in the pics...but I'd want to get my hands on one...so see if you can do that if there isn't someone on here close, who is willing to do that..?

[quote name='cheddatom' timestamp='1447338660' post='2906841'] I know I'm repeating myself from similar threads in the effects forum, but compression does not remove your ability to play "with dynamics", depending on what you mean by that. If you want to be able to play louder and quieter using only the power of your fingers, this can still be achieved with a compressor in the chain. I use a compressor[b] to reduce the initial transient peaks of any notes with a particularly hard attack. [/b]This is an effect which is pretty much inaudible, but will hopefully give some protection to my rig. I still manage to alter my perceived volume using only my fingers. I also sometimes use compression with a slow attack to give me more punch. Again, as long as I get the threshold right, I can still "play with dynamics" [/quote] But these are the ones I want otherwise I wouldn't hit it like that...

Try as I might, I can't help reading this as a prick in Hastings

The first thing for me when I listen to vocals ..?? is the voice tonally pleasing and expressive. That really sorts the men from the boys, and women etc. Being able to hold a tune is not a good singer IMO. In a crowded bar, you want the voice to GRAB everyone..and make them turn round and notice. From recollection, there are only a mere handful who can do that around here... the rest are a bit meh..!! That, coupled with a non discript P.A ...and we had a hired in P.A run Vox dry to a load of pub acts the other day and you aren't even left witha fighting chance..!!!! Vocals=focal point of the band, pretty much.

Nope, don't use it... I want the dynamics of what I play to come out...and that is how I practice so it needs to be spikey and expressive...and more to the point, get over a loud sound so it needs to be peaky. I have a decent pedal board which I am looking at more, and the one thing that the presets tend to do is bury things... so the nice level is a bit bland...??? I'm fine with compression on the final mix by a good engr either live or studio but I tend not to offer it at source.

Definitely Sims. Whether the bass is worth the finish is the question, tbh. I've taken 2 custom builds there and he knew they weren't done in his shop..

Probably should have gone through Bassgear as they are the U.K dealer?

Indeed. Will have to wheel out 'yes, we can can' at the next gig..

[quote name='CamdenRob' timestamp='1447142266' post='2905124'] I don't really know about how loud the various wattages are supposed to be, but I do have personal experience with my current gear obviously. For a loud rock band rehearsal the MB200 into a 8ohm berg cn210 isn't enough, but my Glockenklang (pushing 350 watts @ 8ohm) into the same cab has plenty to spare, I usually have the master set just over halfway. If I was to need a full fat rig for any situation I'd just add another cn210 and I can't imagine that ever wouldn't be enough. The advantage of the MB200 is that it is tiny, sounds great, and through a wizzy10 is loud enough for anything without drums. [/quote] I'm always surrised a 210 could be considered enough, but you have to hear these in context. Volume wise, maybe... tone is another question as you are asking a lot of the cab. As per volume... most couldn't hear the difference on a Marshall amp between 1 and 10... which leads into the old joke about them going up to 11... because everybody use to max out ALL the controls. What does that tell you about how Marshall did things,...?? People used to say they were blindingly loud on 1... when it may well have been not far off full power anyway. Clever old marketing tool led everyone to believe Marshalls were louder :lol;

[quote name='Roland Rock' timestamp='1447143340' post='2905129'] I play with a deep, clean tone,and this needs more power than usual. I've tried various amps ranging from 100w (valve) to 440w (ss) to 900w (class d) None have come close to the tone that I get (at gigging volume) with my "overkill" 1800w SS amp All of these amps can do gigging volume, but it's about the tone. [/quote] Exactly. It you just want a rumble and thump then you can get away with less power as you aren't going for clarity across the range. Some bass want just this and it suits them to sit. Gtrs (many) also want it as they don't want bass players to do anything but prop them up so a distant rumble is the job.... In a power trio, the Gtr wants or has to have the entire spectrum of sound and he has enough on his plate that he doesn't want to content with bass as well. It is better it is just in the background. If you want/need to be heard then you need a set-up that can deliver and ragging the hell out of old PV combo's- which I'm sure we've all done.. is not the same thing as having a useable sound....but that depends on who is listening and what they want to hear.

[quote name='LukeFRC' timestamp='1447111028' post='2905050'] Trace Elliot watts are not the same as any other watts. OT but how does it sound into the Kappalites? a lot of the kappalite equipped cabs you see on the web seem to have people put hundreds of watts into them - my wee walkabout cannae do that! [/quote] Because the cab is built to be inefficient, IMO. The simple compromise game means you have to rob Peter to pay Paul.

Gain @ 1, master @ 1...bass at 10, mid, treble and presense to suit. Active is set to equate to to the passive volume but I can boost if need be..on the fly. I'm currently passive for most things atm. Volume full on a Jazz but at East pre config so not trad jazz vol controls. I'm also messing around with effects and I'm setting them up to be neutral vol-wise.