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About Jazzjames

  • Birthday March 9

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  1. Thodrik explained my grievances with the cab very well!
  2. I found those cabs pretty woeful, but the ones I’ve used were always hired in and may have been ragged to death... I play an Ampeg amp And love the sound but a lot of their products from the last years have relied on the name, and have not been of good design in my humble opinion. If you’re dead set on Ampeg, then just try that cab. If it works for you, awesome! I’d never want to move around something that big ever again, when there are more modern cabs from Greenboy, Barefaced, Genz Benz etc. that offer more spl, which sounds more focussed, in a more compact and lightweight package. Is your current cab 2 ohms?
  3. I use an AER amp one and it’s got a seriously full and punchy sound. I’ve also used a lot of the other competitors and used to own a Genz Benz 3.0 Shuttle combo which was also really nice. For giging ability The AER combos are, in my opinion, a cut above the rest.
  4. I have one of these in the living room. I bought it from ebay, broken, for £20. Got it fixed up and it’s worked like a charm rver since!
  5. Can you tell us which revision the board is? You need to look on the board itself, inside the amp. The latest revision is revision H__. Those amps should have had all of the problems ironed out by now. There’s a (like always) a mega thread on talkbass about this amp and the issues many people have experienced. If you bought the amp second hand then I guess it’s more difficult to complain to someone. The (mega) thread on Talkbass about this amp will give you all the info you need regarding possible problems and their solutions. The best thing to do would be to have the amp at least looked at, and then see what’s happened to it? I’d definitely ask Surrey Amps exactly what they fixed last time (if not on the invoice) and make sure they’re following the advice/standard repair procedure for this amp, again, that thread on TB will guide you. No point repeatedly replacing a component that’s part of a dodgy circuit as it will just go bang again in the future.
  6. I started using an Ampeg SVT-7 Pro recently, and it’s much more grown up in its power delivery that the other light weight amps I’ve used in the past. The tube preamp, compressor and ultra high/low buttons give it bags of personality. It brings my instruments to life in a way to date none of the super small heads have. And as far as willy waving goes: 1000w at 4ohms! Let’s just hope it doesn’t break like the early models did! In the event that the SVT decided to fry itself, I carry a Quilter BB800 around as backup- a little rough around the edges in terms of sound but also punches well and is very small if that’s important to you. The Tonehammer 500 would also rank highly on my list, but only if you plan to run it either at low volumes or through big cabinets- it gets a bit shouty/out of breath at high volumes.
  7. Ah okay I'm with you. I just thought I'd mention it because the 4 string version of the bass is made in Japan.
  8. To my knowledge the 5 string model was actually built in the USA, not Japan.
  9. I went from a rig with 2 DB112 cabs to one Greenboy Fearless F112. It’s a revelation not having to move so much weight around. And the sound is clearer than ever. The only problem I found is that my TH500 couldn’t deliver the volume at 8 Ohms so I now have a Quilter BB800 to power it. It’s a great sounding light rig that’s shockingly loud. In one of the rehearsal rooms at the music school I teach at the bass rig is a SWR Redhead (2x10 combo) with a SWR 18” extension cab. The Quilter/Fearless rig annihilates the SWR rig for quality and quantity of sound. If your goal is to reduce the weight of what you’re moving around, there are better ways to go than PJB. PJB do make nice well made gear, but not the most practical any more in my opinion. If your foray into Barefaced doesn’t work out, Greenboy cabs will be of interest.
  10. The Tonehammer’s got a nice vintage voiced preamp and usable DI. It sounds nice at low/medium volumes and seems to be very reliable and well made. It can cover louder situations but you’ll need a lot of speakers to help it produce the volume. Running it harder into a smaller cab doesn’t sound great. It sounds like it’s shouting but running out of puff while doing so. The Quilter on the other hand has freaky authority and control over the note at much louder volumes. It really delivers tons of punchy bass into my fearless F112. Is it as crushing and thick as my Ampeg SVP-CL->Warwick Hellborg 500w rig? No, but it’s close enough for no one to notice and saves me carting around 40kgs of rack gear! The Quilter doesn’t have a very versatile EQ compared to the tonehammer, but if you like the sound of your basses as they are, then the Quilter can tame a room nicely. I think it’s a great bit of kit. My current rig of Quilter->F112 is the best rig I’ve had to date, but my rigs in the past were all good as well. We live in a good age for bass gear!
  11. I am also running the BB800 with an F112 and concur that it’s a good pairing! It’s a winner sound-wise and doddle to move around.
  12. B stock Gary Willis signature, if that price is a little better? https://m.thomann.de/intl/ibanez_gwb205_ntf_gary_willis_b_stock.htm?i11l=en_GB%3ADE.EUR%3AEUR Back in the day I got some basses defretted at the Gallery in Camden and Martin did a fantastic job. If you find a bass that has frets, but you wish it didn’t, I can recommend it. It wasn’t expensive, either.
  13. Bassists that play thumb and index finger (at least some of the time): Paul Westwood Pino Palladino Doninique Di Piazza https://youtu.be/Nyec7ssI7Lw Different sounds and vibes but all pretty cool. Play however you think sounds best, as long as it’s a choice, not because it’s the only way you can play!
  14. I use the program transcribe to help me loop/slow down the passage if it’s tricky to hear. I’ve been transcribing frequently as part of my practise regime for many years now. The process starts off slow and inefficient, but as your ears and musical knowledge get better, you don’t need to search for every note, you’ll be able to hear that a phrase is scale X, or scale Y with chromatic approach notes etc. If you transcribe a few solos from the same person, you’ll probably start to hear they have their box of tricks and you’ll be able to recognise them more quickly. Have fun!
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