Jazzjames

2nd hand lakland skyline?

[quote name='Chienmortbb' timestamp='1427453632' post='2730507'] There is a strange sound on that recording. It sounds like an artefact of some kind and seems to follow each note. The basic tone of the amp sounds cleanish but it is hard to be objective with the after note noise. Headphones used - AKG K450 fed from IPhone 3G*, and Kindle Fire HD. One further point. The TH500 uses an ice power 250asx2 power amp. It is capable of 500W into 4 or 8 ohms depending how Aguilar have configured it. There are two power amps and if connected as two Single Ended amps (rather than a bridged amp) one feeding each speaker socket, the max power into 8 ohms from each outlet would be 125W. Not perhaps the power house you would expect if pushing for volume. *Has the best Analogue to Digital converter so the best phone for audio. [/quote] Are you sure about this? In the user manual it states 250w at 8ohms and 500w at 4ohms. It shouldnt matter whether I use 1 speakon out from the amp or two...? With 2 8ohm cabs obviously. Conan, I hope you get to the bottom of your problem. I really like my th500. It doesnt sound amazing on its own but, as you said, works well in a mix.

Have you experience with the tonehammer 500? I just wonder whether it's worth the (expensive) bother of aquiring the ampeg.. And how gigable it will be.

Hey everyone, I was up in Scotland at the weekend and tried out a brand new Ampeg V-4B with matching 2x12 cab as I was A/Bing a bass in a shop against mine. I didn't like the bass, but was pretty taken with the sound of the Ampeg rig. So warm and smooth yet clear! What's your experiences with gigging these heads? Not so much the old ones, these newer lighter reissues... At the moment I'm using an Aguilar TH500 with 2 DB112s. A good setup I think you'll agree, but how do you think the V-4B would compare in terms of volume and grunt to the Aguilar? The Aguilar has plenty enough grunt for me already, I'm not looking for more, it's just the tone of the ampeg was something else! Thanks, James

Get a Bareknuckle '58. It sounds great in my Fender P. The guys down in cornwall know what they're doing alright! https://bareknucklepickups.co.uk/main/pickups.php?cat=bass&sub=vintage&pickup=58_split_coil&series=p_bass

[quote name='Conan' timestamp='1422976168' post='2679051'] Interesting. You find a single 1x12 loud enough to gig, but not a 2x10? To be fair, the Aggies are excellent cabs - but what were the 210s that you used? I'd have thought that the 210s would be louder (assuming similar spec levels). [/quote] [color=#000000][font=-apple-system-font][size=3] Yeah I find the Aguilar DB112 loud enough to gig with at medium volume, but not all 12s will be the same, the DB112 is in a big box! If was doing a rock gig, I'd bring both cabs, but that's only so I can have the amp ticking over, not pushing so much! These DB cabs really are solid things.[/size][/font][/color] [color=#000000][font=-apple-system-font][size=3] I've used Ashdown's 2x10 Evo combo, a fair few times, which was pretty crap (for me) to be honest, but I'd blame that on the head as much as the cab. It sounded vague, but you see them about so there must be people that like them. I had a SWR goliath 2x10 and it sounded lovely but again didn't give what I needed with regard to depth when I needed it to. I have played though a TC 2x10 combo that was just about loud enough for the gig I was doing which was in a small upstairs club, but man did it suck tonewise. Just totally sucked. Again, that's probably me disagreeing with the head as much as the cab.[/size][/font][/color] [color=#000000][font=-apple-system-font][size=3] I owned for many years a Genz benz shuttle 3.0-10t with 10t extension cab. so 2x 1x10 mini stack. It did its best to cope with the gigs I did with it, and for the most part I loved it, but it still wasn't quite loud enough for some of the gigs I did with it. Was a lovely little thing though. Great when I was without car in London playing mainly jazz, but in the real world, didn’t quite cut the mustard. Not a 2x10 I realise, but it did have 2 10" speakers![/size][/font][/color] [color=#000000][font=-apple-system-font][size=3] I haven't played many of the more modern more expensive cab manufacturers' 2x10s, apart from I had a little blast on a Bergantino 2x10 at a jam one time, no idea which model line it was, it was quite light(?), and it sounded really nice and even, if a bit sterile, but I wasn't using my amp, and we were playing quietly so couldn't get much of a feel for it.[/size][/font][/color] [color=#000000][font=-apple-system-font][size=3] I A/B'd the DB112 against a DB210 in the shop that I bought it from, and thought that the DB112 was bigger sounding. And I cranked them up to hear what they would be like at gig-ish levels, and the DB112 punched more to me. That will get you heard. Not to say I didn’t like the DB210, I thought it sounded great, but I would have to pair it with a DB115, and I ain’t carrying those things around with me![/size][/font][/color] [color=#000000][font=-apple-system-font][size=3] I'm sure there are plenty of 2x10s that are louder and bassier than some 1x12s but above are my personal experiences, and very subjective, seeing as these experiences are over a number of years in many different rooms with different bands. Get to a big shop like the Bass Gallery in Camden and try as many things as possible.[/size][/font][/color] [quote name='discreet' timestamp='1423000952' post='2679510'] Two 1X12 cabs are where it's at, IMO. Modular, portable, can be cranked without issue, full-range capable... what's not to like? [/quote] This is spot on^

Go and try a few things and see for yourself what you think. I personally use Aguilar DB112 cabs and one on its own if often plenty loud enough for most gigs. I have two but only really use both if I'm playing outdoors or with a large band. I've owned a SWR 4x10 and whilst it did sound great, was too big and heavy, and the two 12" cabs I have now are (together) definitely louder and go lower, whilst being easier to transport. It's a lot to do with size of box that the speaker is in, like the old Gallien Krueger combos that double bassists often use - whilst it's a 12" speaker, it's in a shallow small metal box. Not in the same league as my Db112, but the DB112 is double the size. If you're looking for a good combo to play rehearsals and gigs with that's quite easy to move about I'd suggest a Markbass 12" combo. I've always thought they sounded big and musical for their size when I've heard them or used them on a gig. Quite cheap also, especially second hand. I've never found a 2x10 that can gig on its own without ragging it. http://www.soundsliveshop.com/p/MarkBass_Mini_CMD_121P_Bass_Combo_Amplifier/MB-MINI-CMD-121P?CAWELAID=1830891859&CAGPSPN=pla&gclid=Cj0KEQiAgMKmBRDMjo_F9OfUubABEiQAp8Ky1yWsjN3bS3wN3YkPm_51McdV1kSzIXv-_gX0LjXlCikaAmVW8P8HAQ

I've had two basses defretted at the Gallery in Camden as mentioned above. They did an amazing job. Top guys there. I think if you're unsure of what you're doing then it's worth not potentially wrecking a fretboard trying!

https://www.youtube.com/watch?v=PAz5b-0GE_E

Yeah fair enough, I take your point. I am in no way calling Mike Lull a liar, I have the upmost faith in his work and the instruments that he produces- hence I own one. I read the 300 instruments a year thing here: [url="http://www.notreble.com/buzz/2011/12/15/custom-shop-an-interview-with-mike-lull/"]http://www.notreble....with-mike-lull/[/url] And have since reread it and indeed he does do the work himself. I guess I assumed that he must have help at 1 bass a day!

[quote name='Chiliwailer' timestamp='1421261496' post='2659142'] +1 What I love best about my Lull is that Mike Lull made it himself, no other luthiers were involved so he assured the quality right through to the end result. It has his name on it, only himself to blame if it's sh*te, not a paid employee who does the same bit day in day out. No offence meant, to the employee or Fender, that's just how it is. Mike Lull is in his early 60's now, when he retires that's it. I like the old school in that and must resist the forces of GAS requesting that I special order an ash body maple neck P4 in trans black, lol! [/quote] I think you'll find that Mike Lull puts out about 300 instruments a year. Good luck doing that on your own. He does work on every bass but not on his own. I believe that people are rightly into the fender sound, afterall, most of the music we listen to that was made in the 50s/60s onwards was played on fender basses, so it's kind of in our minds and culture- that's the sound when we think of bass. Is a modern fender anymore of a fender than a D. lakin or limelight or whatever? In my opinion no. Leo Fender left that company a long time ago and they've sort of been treading water ever since. But I get why- what amazing designs! I do also believe that with passive basses the wood has to be that much better to allow the bass to 'speak'. active electronics can compensate for things like that. Passive designs are simple but you'd better do it well! This is what I was thinking with the whole QC part of this thread. You can't know when you match a neck to a body will sound like. Some will be awesome. Most with be alright. Some will be no good. But as long as it looks ok they send them out. Have I ever played an american standard that I liked? No. But i bet there are loads of good ones out there. I've played plenty of early 60s p basses that weren't all that either. For those who are interested: i have a mike lull PJ5 and a MIJ 57 p bass. I love them both and I doubt I will sell either as I never come away from a gig disappointed with how they sound in a band context. How I sound is another matter!

Bareknuckle uk will sort you out. Check out their website. Hand wound pickups. I have the 57(?) in my p bass at sounds amazing. Transformed the instrument.

All comments above valid. If you want to get close to his sound, i believe finding a '57 reissue P bass would be a good way to go. I have a MIJ one from the early ninties. It's great. I play it all the time. Strung with flats. One of them should be around the £500 mark.

I totally agree with everything that has been said, apart from that we have 'evolved past 4 strings'. I think there would be a few examples of players who are current that disprove that. And I am a big fan of Anthony Jackson and John Patitucci by the way. Two guys that I feel really utilise the extra strings in a musical way! https://www.youtube.com/watch?v=-K-q0eZ5MDI&spfreload=10

Interesting! I didn't know that about Jaco. I wasn't saying that someone shouldn't play a 5 or 6 string because Jaco didn't, my point is that it can be easy to think that if you add a string or more frets, whatever, then you will automatically sound better. You should be able to make music on a 4 string bass. Playing the same licks up or down an octave doesn't make them sound any more hip!

Listening to what Jaco did with 4 strings and 20 frets (i realise he didn't have frets but you know what I mean) always reminds me that it's not how many strings or notes you have, but what's in your mind that is more important.

I'm pretty sure he was on a J bass rather than a P for most of the older stuff he's recorded on. EDIT: Although the Lee Ritenour song below sounds pretty P bass like to me! Never heard that one. Obviously there's all the early Chaka Khan stuff, there's some amazing playing on those albums. If you go on Lucas Pickford's website he's got a load of transcriptions and comments about AJ and what's he's been on. A good place to visit even if you have no intention of playing the transcriptions. Also, on youtube there is a long interview between AJ and cliff almond (drummer) that's interesting. Search Anthony Jackson Interview.

^ this

I remember hearing Paul Turner using one with Jamiroquai at Hyde Park supporting Stevie Wonder (good day), and I still remember that his bass just sounded so clear but fat and sweet all at the same time. In hyde park! But then again, he's a top player so he'd make a Squier classic vibe jazz bass sound pretty awesome. Are ACs worth the money? If you are a pro and it's your living to make the absolute best sound possible, and they're your vibe, then maybe it is worth the extra cost. But you really have to know what you're doing to appreciate and take advantage of that extra bit of tone or playability that a bass like that gives you. The afore mentioned squier classic vibes to me are great value for a starter bass, and I'd happily do a gig on one if I had to, no issue. Do I 'want' one? No. The ones I played didn't 'speak' to me like my two do. Instruments are such a personal matter... Recently I've played foderas and Sadowskys and I've put them straight back down again. "That particular bass, not for me." I have a Mike Lull PJ5, not a cheap instrument, but don't assume that they're all awesome over a certain price point, because I played 2 second hand mike lulls at a shop in the UK recently and I wasn't into either of them. But when I tried [my] early 90s MIJ fender precision bass on Denmark street a few years back, I knew I had to buy it there and then. I think things made out of wood have such an element of luck, and you can get an absolute gem for not much money if you look around and get lucky like I did. The converse is also true, meaning that a bass can be worth this and that amount of money, like any Pre-CBS Fender, but are they all amazing? No. Don't be suckered into thinking that if it's expensive, it's always better, because it's not.

[quote name='coffee_king' timestamp='1417013372' post='2616085'] Hey Scenario - You need to take a dump on the way to/from a gig? You pull into a service station, or anywhere there is a toilet. Your not about to lug all your gear into the loo with you are you, so it has to stay in the vehicle (Not visible in the boot). But your not insured for that. You stop over for a gig somewhere. Where is the gear going to be stored? With my insurance it can be in the vehicle or in a locked room and its fine. But what if your not staying at the venue? Where's it going to be kept so its insured? Lump it all into a hotel room after having loaded it all into your vehicle earlier, to then load it all back into the vehicle again in the morning? Regarding "Theft from stage" Good luck claiming againt anything that. The T&Cs for that are very clear for me that I MUST NOT LEAVE THE ROOM while my gear is there. - But OK, prove I wasnt in the room eh? So theft when exactly? Apart from loss at an airport? I'm only insured in the UK so no doubt they would claim it was lost OUTSIDE the UK? Damage? Fair enough, but apart from an amp or guitar falling over and breaking (20 years and this has never happened to me) when else would it get damaged? It is all ridiclous. But I would DEFINTELY consider the extra cost to have it insured in your vehicle. As far as I'm concerned thats the most likely place it will ever get stolen from. All I'm trying to say here is CONSIDER exactly when things can get stolen, damaged etc and then read the T&Cs and you'll generally find your not covered that much at all. Peace out. [/quote] Toilet breaks- park at the front where all the people are. I admit this is strictly speaking unattended but only for 2 mins. I take the risk on this rare occasion. Petrol stations are good because of all the cameras. Hotels- yeah I take the gear in with me. Electric bass, class d head and lightweight cabs not a problem. I don't tend to take on gigs that are far away anyway so this doesn't happen often. Flying/travel- i'm insured worldwide. Damage- i had someone bump into me in the street while I was walking home with my upright, put a hole in the bass £650 damage- no problem claiming. I also saw a tech in ireland drop a hammer through a 50s Martin acoustic. Good job the owner had it covered for accidental damage.

[quote name='coffee_king' timestamp='1416926249' post='2615104'] You may find you are wrong there I'm afraid. Unless you only have accidental damage cover, then as far as I'm aware your equipment is always insured stored in a vehicle (As long as its not on show) if its "Away from your home". Whats the cover for otherwise? [/quote] I've just looked at my Allianz policy document and I am correct. I could have paid for it to be insured in my car unattended, but it was more so I removed it. Note if I have a crash with it in the car, it is covered. I wouldn't leave my bass or my amps/cabs in the car anyway, as it's a hatchback so easy access to any part of the car. Also, the cold and damp aren't exactly good for any gear. What's the cover for? many things... damage or theft from my home or where I am playing/staying, damage by any other person, if it lost e.g. airport. And I'm sure more things that I can't recall right now. I've had friends have their instruments destroyed by airlines, and also one friend who's bass was stolen from the stage of Pizza Express in Soho. I don't want that to happen to me, but if it does, then I am covered.

Just to echo some thoughts by other members- allianz are a good insurer, they seem to be very reasonable from my experience. Allianz will cover equipment left in an unattended car but it costs more. It would have been another £200 a year for me. Endsleigh on the other hand will work hard to get their way out of paying for your claim, so leaving it in a vehicle even if the vehicle is parked inside a locked garage would probably be enough for them to say they won't pay. Don't try and think you can get one over on them on a technicality- they will find out and not pay. Is it worth a little extra carrying at the end of the night to make sure your gear is safe and insured? Yes.