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Fiorenza2

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Everything posted by Fiorenza2

  1. So honestly I would, since it keeps up well enough in rehearsals (hence my relative confidence in less than 300W of power), but it's a deceptively heavy beasty, and kind of belongs to the practice room. From what I gather one could also go with a TC Electronic BAM200 + BG208? Pricewise going with this Head + Cab seems similar/cheaper (less power though), plus there's an added benefit of being able to shove the head in my gig bag, which makes the load on the hands even lighter. How many watts would you say is needed in this case; 150W?
  2. Thanks everyone for your responses! It feels to me that a single 100W amp should be sufficient to make myself audible on stage as long as I tilt it. I actually practice with a pretty lousy 300W amp by Behringer (so probably really much less) and even that's way too loud for a 7 piece with horns (nothing volume-wise is past 12 o'clock), so I imagine 100W is plenty just for on stage monitoring. As some have highlighed, a few different brands have entered the sub £300 lightweight amp market (i.e., Ashdown, Fender, Hartke, etc.) so I'll shop around and pick the one with the tone that works for me.
  3. I'd say the price in this case? 😁 Fair, I'd like to stress it's really just for monitoring, so even if it's a bit nasty sounding at higher settings, FoH won't hear it since they'll be getting full on PA. The biggest band I'm in is an 8 piece with a horn section, but I figure if I place it near myself and the drummer at least we'll be able to hear it? Appreciate ideally everyone in the band should hear me loud and clear, but being honest it's not exactly pro-level gigging here... To give an idea of the current situation, if the keyboardist is playing a bass-heavy patch through foldback I basically can't hear myself. If an amp can get me into a situation where I can resolve which notes I'm on then I'd count that as a win. In the past I've used a Markbass Traveller 102P which was more than adequate, but that was a one-off.
  4. I was wondering what sort of options were available so that the rhythm section can hear me better on stage? In recordings the bass sounds great through a PA front of house, but on stage it tends to get lost (especially when the keyboardist has a low frequency patch). Furthermore, the foldbacks I've been using don't really provide the 'thump' that I'm accustomed to. I was thinking a Fender Rumble 100 V3 would be a good option (+ tilt stand), but was also tempted by a used Markbass Minimark 801/602, since I've had very good experience playing through various different Markbass amps, and these are marginally smaller so more convenient. Ideally I'd want something that's loud/thumpy enough to cut through on stage, but also light so I can walk in/out of gigs with it in hand. Thanks!
  5. Hey guys, The bass is still available, although the situation is a bit odd right now, as I'm at university, so I'm not too sure about the logistics of it all, especially if you'd like to try it out. Having said that, I'm am definitely sure something can be sorted out. As for pictures, more can be taken if you want! Thanks for the comments xgsjx, the pictures of your SR1000E are incredible. I can't believe just how nice the wood looks, which makes you wonder why they bothered painting over it in the first place... Cheers! Phil
  6. I'm going to uni soon with the intent of joining a funk/disco/jazz sort of band a la Jamiroquai, and I'm not confident that I can really "funk" it up. I'm technically sound, but whenever I listen to the likes of Jamiroquai, Chic, EWF, Brand New Heavies, etc, I just don't feel I could replicate any of that style in a creative context (ie: actually writing such bass lines). I tend to overplay, and I can't really grasp the essence of the groove, and I tend to play the same patterns over and over again. (Don't really know how to put it better) I've heard it's best to learn how to get accustomed to a genre by practising with the relevant group musicians, but I don't have that luxury at the moment. Is there anything I can do in the mean time that can help me out? I've been learning bass lines I deem to be funky, but I don't really feel I'm getting anywhere. Is this just a case of perseverance? Or are there any exercises I can do to speed up the process? Thanks for reading, Phil
  7. Hi Stuart, When the Jamiroquai book gets back in stock, I'll most definitely be getting it. I've just got one quick question, is the "Space Cowboy" transcription the "Stoned Again Mix", which Stu Zen played or the album version, which was done by a bloke called 'Mr. X'? Either version is great, and I personally prefer the Mr. X version a bit more. Cheers, Phil
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  9. [quote name='Matt P' post='1338575' date='Aug 13 2011, 11:07 AM']this also interests me, i'd love to fit a pre into one of my basses but don't have the cash at the moment (but have some soldering skill) i'd be incredibly surprised if anyone has the schematic for the sadowsky pre though (or any of the other aftermarket pre's). I'd guess that the exact specs of these are a closely guarded secret (hence the black epoxy over the circuit). but if anyone has a generic design for a preamp (2/3 band) then a link would be great, i'm prepared to have a go with building and tweaking and if i get anywhere i'll happily share my findings matt[/quote] Hey Matt, from what I've heard the Sadowsky pre is based on an old Bartolini design, possibly a TCT. Can't find schematics for that either though... The best preamp I can find that is DIY friendly is this: [url="http://www.albertkreuzer.com/preamp_onboard.htm"]Albert Kreuzer[/url] but it's got a single "tone" control, as opposed to an actual EQ section. I'm sure someone with some electronics know how could adjust the design to accommodate this? Also being a FET based design, it may be close to a Sadowsky in sound.
  10. Hey all, I'm contemplating installing one of these, as they sound great, but cost too much. I've done a search on Google, and apart from a couple of people claiming they have the schematic for the circuit, I haven't been successful in actually obtaining one. As far as I can tell, the circuit itself looks simple, and seems to be a JFET design, as there are a couple of JFET's on the PCB and there are no IC's. Here's a picture of the board (albeit epoxied) to illustrate the matter: Any help with regards to a schematic would be great, as building one from scratch would be a fun alternative to buying an off the shelf preamp. Cheers! Phil
  11. Thanks for the responses, I've been running my BDI21 through the XLR out into my USB interface through headphones, and I've never attempted to use it live, as at school (the only place I can play with a PA) the soundguys aren't particularly fond of things they've never seen before. Is this perhaps where I've been going wrong? I appreciate the offer Dave, and may take you up on it. I've got a bass lesson on Thursday, and my teacher runs a Sansamp BDDI, so I may try to get some information from him as to sound etc. If I'm still undecided, I'll definitely be in contact I've also been considering the MXR and DHA alternatives, but I'm not a fan of the overdrive on the MXR, and I doubt I can get the equivalent DHA second hand (can't afford anything more than £90). Cheers, Phil
  12. I'm considering buying a Bass Driver DI, but here's a little background: I bought a Behringer BDI21 about 3 years ago, and I've tried numerous times over the years to get along with it, but I can never coax a sound out of it that I preferred more than the uneffected tone. I've tried various basses with no success, and I assumed the Sansamp BDDI would be similar. However, I recently had an opportunity to hear one in person, and the Sansamp sounded really good, nothing like my BDI21. I've also checked out some Youtube demos of the BDDI, and every time it sounds far different to my BDI21. For example, I only get a sort of overdrive on my Behringer if I crank the gain full, whereas on the BDDI the 1 o'clock setting yields the same results, and can go on to get really fuzzy. Am I just not suited to the BDDI design, or is my Behringer at fault? Considering how similar these units purportedly are, I'm thinking the former... Any help would be great, Phil
  13. [quote name='mattthebass' post='1267541' date='Jun 13 2011, 04:59 PM']I have for sale two EMG Jazz pickups in great condition and with the quick fit cables they came with. all working 100% and lovely. £60 ono Cheers.[/quote] PM'd
  14. Bump. Still got the neck plate, 3 way Telecaster switch, string tree, and Jazz bass neck pickup left.
  15. Hi, the bridge is currently pending payment, as are the tuners. The humbucker and Artec are on hold. Just in case you were wondering, the bridge looks like this:
  16. Hey all, I've recently taken apart my A-Level DT Bass project, and I'm selling the hardware to fund various effects I wish to purchase. We have: [s] [b]Chrome Wilkinson Tuners[/b] (£14 + £2 P&P) - These are based on a 70s style Fender design, so they are slightly bigger than the standard 60s style. They should fit a standard neck, but will need new holes drilled as well and may have some overhang. Comes with screws and bushings.[/s] [s](ON HOLD) [b]Artec SE3A[/b] (£25 + £2 P&P) - A 3 band preamp/EQ with 4 knobs, including concentric Treble/Bass. Comes with stereo jack and 9V battery clip, as well as black knobs (including the relatively expensive concentric configuration).[/s] [b]GFS Jazz bass neck pickup[/b] (£12 + £2 P&P) - Comes with screws, and some light scuffing. [s](ON HOLD) [b]GFS MusicMan humbucker[/b] (£8 + £2 P&P) - No screws, but they can be bought easily online. Ceramic magnets, and some fairly noticeable scuffing around the single screw tab. [/s] [s][b]Neck plate[/b] (£3 + £1 P&P) - Chrome, 4 screw Fender style, blank. Comes with screws. [/s] [s][b]Hi-Mass bridge[/b] (£6 + £2 P&P) - Chrome, 4 screws. Graphite saddles, I will include 4 chrome screws which are perhaps one size too small, but will work with the bridge, as well 4 zinc coated screws which have the right size head, but are not as aesthetically pleasing. Also included is the appropriate allen key.[/s] [s][b]String tree[/b] (£3 + £1 P&P) - Chrome, comes with screw [/s] [s](ON HOLD) [b]Strap buttons[/b] (£2 + £1 P&P) - Chrome, comes with screws and felt [/s] [b]3 way Tele style switch[/b] (£3 + £1 P&P) – A good quality switch from GFS Postage is via RM First Class. Thanks for looking, and if you have any questions feel free to ask!
  17. bump In case I haven't made it clear, I'm open to any reasonable offers for this bass.
  18. [quote name='adledman' post='1258380' date='Jun 6 2011, 01:58 PM']hi phil, lovely bass mate, not seen one in painted finish like that before, i got a sr1304 back in 92` and it has made me only able to use these basses as the necks are so thin and fast and there is not much that touches them for playability. my current bass is a heavily modified sr1000 esm from around 2006-7 and i absolutely love it and doubt i will ever need another bass as it ticks all the boxes. good luck with the sale as these are criminally overlooked as a fantastic bass type bump. ad[/quote] Cheers mate! Totally agree about the neck, it's ridiculously playable. I've had the colour mentioned to be me before, which leads me to believe this may possibly be an import from Japan?
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