omikin

Just bumping this one up to see if anyone wants to add a little joy to an otherwise drab and overcast Friday afternoon...

Sold pending

Bump for a sunny Thursday. Also check out the amps forum for a nice Orange for sale...

Hi there,

Due to the need to raise funds to cover the cost of a recently acquired camera (Hasselblad, film geeks) I am reluctantly selling this amazing amp. In truth I didn't really need it in the first place as when we play gigs (which we rarely do these days) there is the house backline, and I have access to this same head in our rehearsal space. I just wanted the same sound at home, but as you can imagine, 500w is a bit of overkill for the spare bedroom...

Barely used, in original packaging, with footswitch, manual, original cables etc.

Spiel and specs from the Orange website are here:

For years, bassists have been combining guitar and bass amps to remarkable effect, adding harmonics and layers of overdrive from a guitar amp to their core bass tone in pursuit of the ultimate live sound. This “bi-amp” trend got us thinking: why drag two amps to the show when you could take just one? The result is the OB1 series of Class A/B rack mountable bass heads, which take care of this and much more besides.

The key to the OB1’s unique sound is our footswitchable blend circuit, which adds a veneer of controllable gain and increased harmonic content to the upper registers of the input signal. The lower frequencies and clean signal are left alone, staying just as warm and clear as they would in a “bi-amped” setup. Depending on where the Gain and Blend controls are set, the possibilities are limitless. Toggle the Blend control to achieve anything from a transparent clean boost to all-out filthy grind and everywhere in between.

OB1-500 shares the same layout and 2U rack dimensions as the less powerful OB1-300, coupled to a full-fat 500-Watt output section to move some serious air.

KEY FEATURES
“BI-AMP”-INSPIRED DESIGN
The OB1 splits the input instrument signal into two separate paths. One amplifies the clean signal, with all the clarity you would expect from Orange. The other adds stages of gain to the upper harmonics only, controllable via the amp’s Gain knob. These two elements are combined using the amplifier’s Blend control which adjusts the balance between clean and dirty. The Blend control can then be remotely engaged or defeated using the optional footswitch.

The gain and blend range allows for almost any tone, from a subtle level boost that cuts through the mix to added girth and presence at moderate settings that fattens up chorus passages, and fully saturated savagery at the extremes. However you dial it in, the OB1 always maintains critical low-end definition, right the way up to the most offensive settings.

ACTIVE EQ
The OB1’s highly responsive active three-band EQ has been meticulously voiced for maximum effect and minimal fuss. The EQ section is located after the gain and blend in the circuit, allowing full tonal control over the entire range of sounds. The Bass and Middle controls feature ±15 dB of boost or cut, while there is a range of ±20 dB on the Treble control.

ALL-ANALOGUE SIGNAL PATH
The OB1 series puts Class A/B power back on the map. All circuitry is completely analogue, ensuring these amps sound expressive and musical, even at ridiculous gain levels.

RACK-MOUNT FRIENDLY
The OB1 Series are our first rack-mountable amps, suitable for 19-inch cases. Enclosed in a rugged powder-coated steel chassis, the fascia is finished in Orange’s classic “pics-only” styling.

FEATURES:    RACK-MOUNTABLE (2U) “BI-AMP”-INSPIRED BASS HEAD WITH FOOTSWITCHABLE GAIN & BLEND CONTROLS, ACTIVE 3-BAND EQ, BALANCED DI & LINE LEVEL OUTPUTS
FRONT PANEL (RIGHT TO LEFT):    INSTRUMENT INPUT WITH ACTIVE/PASSIVE SWITCH, GAIN, BLEND, BASS, MIDDLE, TREBLE, VOLUME, FOOTSWITCH INPUT, MAINS SWITCH
REAR PANEL (RIGHT TO LEFT):    SPEAKER OUTPUTS (SPEAKON), 1/4″ LINE OUTPUT, BALANCED OUTPUT WITH GROUND LIFT SWITCH
SPEAKER OUTPUT OPTIONS:    MINIMUM 4 OHM: 1 X 8 OHM, 2 X 8 OHM, 1 X 4 OHM
OUTPUT POWER:    500 WATTS, CLASS A/B
FINISH OPTIONS:    WHITE POWDER-COATED STEEL CHASSIS (2U 19″ RACK MOUNTABLE)
UNBOXED DIMENSIONS (W X H X D):    48.2 × 26.5 X 10CM (18.97 X 10.43 X 3.93″)
UNBOXED WEIGHT:    10.1KG (22.26LB)

Collectable from Leeds, or I can meet around Leeds or between here and Cheshire (I am there once a week), or I can post as it's got all the original packaging and will be very secure.

Thanks man!

Hi all,

Reluctantly parting with my Squier Classic Vibe Jaguar as I need to free up funds for a camera (another expensive hobby...).

I have had this bass about 2 and a half years (bought new from Andertons) but as you can imagine with the pandemic it hasn't had a huge amount of action. It's been gigged once, but the rest of the time it has lived in a padded gig bag and been well protected. As you can see from the photos it's in almost as new condition. Apart from some plectrum wear on the scratchplate you would struggle to know it had been used.

It has been my first medium scale bass and I really liked how playable that made it. I am a fan of a Jazz width nut (my P-bass has a Jazz neck) so I took to it immediately. The P/J configuration is great for a variety of tones too.

In terms of postage etc I would really prefer to meet / arrange collection as I don't have the box for this anymore so I would really struggle to package it up safely for a courier. I'm Leeds based but travel weekly to Cheshire so can reasonably meet along that whole M62 / M60 area.

Overview and specs from the Fender website:

The Classic Vibe Jaguar Bass turns up the volume on retro style, combining the iconic body shape of the Jaguar with the massive tone of its Fender-Designed alnico pickups. Player-friendly features include a medium 32” scale length, a slim, comfortable “C”-shaped neck profile with an easy-playing 9.5”-radius fingerboard and narrow-tall frets as well as a vintage-style bridge with slotted barrel saddles. This throwback Squier model also features 1970s-inspired headstock markings, rich-looking nickel-plated hardware and a slick vintage-tint gloss neck finish for an old-school vibe.

Body Material: Nyatoh
Body Shape: Jaguar® Bass
Body Finish: Gloss Polyurethane
Neck Material: Maple
Neck Finish: Tinted Gloss Urethane
Neck Shape: "C" Shape
Scale Length: 32" (813 mm)
Fingerboard Material: Indian Laurel
Fingerboard Radius: 9.5" (241 mm)
Number of Frets: 20
Fret Size: Narrow Tall
Nut Material: Bone
Nut Width: 1.5" (38.1 mm)
Position Inlays: White Pearloid Block
Truss Rod: Head Adjust
Bridge Pickup: Fender® Designed Alnico Single-Coil
Neck Pickup: Fender® Designed Alnico Split Single-Coil
Controls: Stacked Concentric Controls Volume 1. (Neck Pickup), Tone 1. (Neck Pickup), Volume 2. (Bridge Pickup), Tone 2. (Bridge Pickup)
Switching: None
Configuration: PJ
Bridge: 4-Saddle Vintage-Style
Hardware Finish: Nickel
Tuning Machines: Vintage-Style
Pickguard: 3-Ply Black
Control Knobs: Knurled Chrome/Black Concentric
Neck Plate: 4-Bolt Squier®

Here are some photos:

Bit late with this one but I agreed a sale of my Fender Bassman 100 with Andy. Communication was great throughout, and he was accommodating on meeting up for the sale. All in all an absolute pleasure to deal with.

Thanks Andy! Hope you're loving those vintage tones.

This is an amazing cab at an incredible price! Can't believe it hasn't been snapped up yet. GLWTS!

Thanks man! 

I might be prepared to split if the amp on its own is of interest to anyone?

Thanks Paul! I'm sorry to see it go.

Here is an opportunity to get your hands on the third ever Barefaced Four10 made (Serial Number RF003) - the first two are owned by Jah Wobble.

I have reluctantly come to accept that this is way more power than I need for rehearsals, and I tend to use the house combo when we play gigs, so I am freeing up some space in the spare room and letting this one go.

This has always been kept in the house, and the tolex is in mint condition. It sounds incredible as you can imagine, and I have loved playing it paired with my 1976 Fender Bassman. Half the weight of a standard old school 4x10, and a slightly smaller package make this a very practical cab which is okay for rehearsal and will hold its own on the biggest stages.

I'm based in Leeds but travel to Cheshire once a week, so can arrange to meet anywhere along M62 corridor within reason.

Here's the details from Barefaced:

So small for a 4x10” but so loud and produces so much bottom end if you want it.

Barefaced Line Array for amazing dispersion and Hybrid Resonator for tight controlled lows but thick deep bass weight. 10CR drivers as ever have warm fat punch that growls when pushed hard and roars at max loudness.
Need more output? Use two FOUR10s to blow Marshall stacks off the stage, add a TWO10S for a modular SIX10, or two TWO10S cabs for a modular EIGHT10.

Features
Four 10CR extended-range drivers
Hybrid Resonator enclosure
Barefaced Line Array crossover
Dual resonator outlets on base
Dual side bar/dish steel handles
Rubber feet on base
Nickel-plated 2/3-sided steel corners
Dual parallel combi speakon + 1/4” sockets
Heavy duty black tolex
Powder-coated black steel grill
Optional high strength silver cloth grill

Specifications

Dimensions
(H W D)    61cm 61cm 33cm
24" 24" 13"
Weight    
Cloth    22.5kg / 49lbs
Broadband sensitivity    101dB
Max power    1000W RMS
Max Output    ~131dB
Frequency Range    30Hz - 6kHz
Impedance    8 ohms
 

How does this compare tonally to classic 4x10"s?
Compared to a Trace 1048 it's fatter and warmer sounding with less honk. Compared to an SWR Goliath it's tighter but deeper in the lows with more midrange weight. Compared to an Ampeg 410HE it's bigger in the lows and more transparent through the mids. Compared to an Ampeg 410HLF it's tighter in the lows and stronger in the mids. Compared to these cabs with their tweeters turned right down the Four10 has more treble clarity around the room, whilst with the horns all the way up the Four10 sounds more mellow but more consistent, without that sonic gap betwen woofer and tweeter in the low treble region.

For sale is my Orange Ob1-500 head. I have come to accept that I only really need a sensible combo for rehearsals, so I am moving on my amps and my Barefaced cab (see separate listing for that one).

I bought this new (£625) and have the original box, although with the case it no longer fits in the inner box, if that makes sense. Happy to include this with the amp if we arrange pickup / collection / meet. 

It gives great tone, with a surprising variety of sounds, and it really looks the part. I had the case made by Jeff at Matamp and that was £150 on its own, but I wanted to give it some protection and didn't like the look of any rack cases I could find. He specifically chose the gold piping as that was what the original Orange amps and cabs had (it's all black now, apparently), and the tolex is exactly the same as that used by Orange, so if you have an Orange cab, this is going to fit in perfectly.

I am based in Leeds, but travel to Cheshire every week, so can arrange to meet near either end, or along the route. Postage can also be looked at.

Here's the details from Orange:

For years, bassists have been combining guitar and bass amps to remarkable effect, adding harmonics and layers of overdrive from a guitar amp to their core bass tone in pursuit of the ultimate live sound. This “bi-amp” trend got us thinking: why drag two amps to the show when you could take just one? The result is the OB1 series of Class A/B rack mountable bass heads, which take care of this and much more besides.

The key to the OB1’s unique sound is our footswitchable blend circuit, which adds a veneer of controllable gain and increased harmonic content to the upper registers of the input signal. The lower frequencies and clean signal are left alone, staying just as warm and clear as they would in a “bi-amped” setup. Depending on where the Gain and Blend controls are set, the possibilities are limitless. Toggle the Blend control to achieve anything from a transparent clean boost to all-out filthy grind and everywhere in between.

OB1-500 shares the same layout and 2U rack dimensions as the less powerful OB1-300, coupled to a full-fat 500-Watt output section to move some serious air.

The OB1 splits the input instrument signal into two separate paths. One amplifies the clean signal, with all the clarity you would expect from Orange. The other adds stages of gain to the upper harmonics only, controllable via the amp’s Gain knob. These two elements are combined using the amplifier’s Blend control which adjusts the balance between clean and dirty. The Blend control can then be remotely engaged or defeated using the optional footswitch.

The gain and blend range allows for almost any tone, from a subtle level boost that cuts through the mix to added girth and presence at moderate settings that fattens up chorus passages, and fully saturated savagery at the extremes. However you dial it in, the OB1 always maintains critical low-end definition, right the way up to the most offensive settings.

ACTIVE EQ

The OB1’s highly responsive active three-band EQ has been meticulously voiced for maximum effect and minimal fuss. The EQ section is located after the gain and blend in the circuit, allowing full tonal control over the entire range of sounds. The Bass and Middle controls feature ±15 dB of boost or cut, while there is a range of ±20 dB on the Treble control.

ALL-ANALOGUE SIGNAL PATH

The OB1 series puts Class A/B power back on the map. All circuitry is completely analogue, ensuring these amps sound expressive and musical, even at ridiculous gain levels.

Still available...

Just a gentle bump to let you know this is still available!

On 21/09/2021 at 18:52, PhilAllGaps1 said:

Hi Omikin,

Is this still for sale?

Thank you,

Phil.

 

Hi Phil,

It is!

No longer on hold!

2 minutes ago, Machines said:

Maybe picking up interference from something else in the house that was then off ? Lights, nearby power adapters etc.. 

So I should still go ahead and do the tape thing?

Update! Tape arrived Saturday, so on Sunday morning I thought I would plug it in to get a "before" benchmark, just so I could ensure I had made an improvement. No buzzing. Not a sound.

I don't understand.

Thanks, man! I will give that a try.

Thanks for those tips - very useful. @mikeycrikey did you do anything else like adding wires to the shielding tape or was that enough?

I recently acquired a new Squier CV Jaguar, and I have to say I am 95% delighted with it. Made minor adjustments to the setup (truss rod needed a slight adjustment and the action needed lowering slightly) but it is lovely to play. I have mainly been playing a US P-bass recently so it's nice to have the P-bass tone with the addition of the Jazz pup at the bridge. The neck is lovely and has made me think seriously about getting a Jazz neck for the P - but that's another story.

The slight niggles I have are with the tuners which aren't as "solid" as the ones on my US P, but now I have tightened the large screw they are holding tune better than before. Also the pots don't feel as solid as the ones on my P (there is a very slight wobble to them). However the main bugbear at the moment is a very noticeable buzz when I am not touching the strings, bridge, or the metal plate on the front. Clearly something is not quite right with the electronics, but alas I am not electronically minded, and I don't own a soldering iron so I am not sure how to approach it. To add to the oddness, it buzzes through the Fender Bassman in the picture (my P bass doesn't, so that rules out cables, plug, wiring in that room etc), but it doesn't buzz through my Fender Rumble 40.

I have thought about upgrading the pots to a @KiOgon stacked pot arrangement (my P has his handiwork in it) but (a) I don't know if this would fix the buzzing on its own (although I am confident it would improve the feel and sound of the pots) and (b) is there anything easy I can try in the meantime to remedy it?

Thanks in advance!

On hold for the time being.

[shameless plug]

If anyone reading this is looking for a nice affordable step into valvey goodness, this might be of interest:

[/shameless plug]

I tried one of these out this morning and I have to say I was pretty impressed by how it felt to play. One thing I noticed though was that when I soloed the pickups, the J pickup was considerably quieter than the P pickup. Does that sound right? 

Also - if I wanted to swap out the tuners, would Fender ones go right in with the same screw holes?