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Stuart.C said:

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I have a Schatten design pick up, which includes the same idea: a mini no fuss pre-amp, that attaches under the tailpiece.
It's super convenient, I can just plug into what ever is available (amp, PA board, stage DI) no extra cables, pedals or power.

My concern with your design is the weight on the after lengths would act like one giant wolf tone eliminator, and might kill some resonance?
A smaller form factor mounted under the tailpiece might be ideal.

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Oh cool, yeah that's basically what i was looking for! Luckilly the FC pickup has a RCA connector so I didn't have to permanently alter the pickup, and I can always go back to the regular jack if I run out of batteries or something (I'll keep it in my case). I also have a kk pickup that goes in the wing of the bridge, but it always sounds kind of muddy, and the volume difference between e and g string was annoying.

As far as the resonance, the regular FC jack clips on to two adjacent strings (D and A usually), and therefore mutes the after lengths, this one is on the E and G string. I don't notice any difference, and actually depending on the gig sometimes I put a sweater between the tailpiece and the top to help with feedback and mute the natural resonances. It's super easy to take on and off, so I'll probably remove it for unplugged classical stuff, but mostly for the visual effect.

The protection circuit has a 0 ohm resistor and the protection diode. The current spec is to replace it with 24 volt Zener diode.

These failures are almost always caused by people using 18 volt power instead of 9 volts. Sometimes it's accidental because many multi-outlet power supplies have 18 volts taps. We always recommend marking any cable that is not 9 volts with a piece of tape or some marking so it is not confused with a 9 volt outlet.

TomB said:

Does it go over the existing finish? …some surface prep involved?

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You have to repaint the part with hydrographic paint. I can hydro dip over existing finish but I need to paint it with hydrographic graphic clear coat.

CA and baking soda is the oft-suggested approach as the combination accelerates curing and enhances the bond between the mixture and base material.

Riis

Woodstocks I, II, III
I was too stoned for the first, too broke for the second and too old for the third.

OT: Completed my super-charged micro rig today!

Handmade studio grade optical compressor -> Berg Forte (VRC) -> MicroMark 601.
Still missing: VIFA tweeter box (There's a tweeter out jack on the Markbass)
Going to build a slim box from Jatoba wood.

DWA2469 said:

I usually lightly wet sand with 800 grit sandpaper. I tried different grades of Scotch Brite with little success!

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Sounds about right. I also recall seeing a video where they used steel wool to achieve the desired “dulling” with some level of consistency stem-to-stern.

Riis

thank you both les fret and "wood and wire"! the transcription was helpful, likewise was WW's investigations. it feels like you are very very close, and it seems like there is definitely some sort of effect it at play because i can't get anywhere close with just my naked signal

TheArchitect said:

You don't have to. Those guys already know who to to work with and who not to and why

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And we work with them all.

Very cool!

I suspect it was meant to be satin from the factory, so it would require a refinish to bring it back to true gloss.
Or you could start sanding through to micro mesh if you really want to bring it back to shiny.

Also lighter fluid (AKA Naptha) can be very destructive to a finish.
Great I suppose if you're looking to remove the finish.

Your best minimal effort/destruction would good Ol' Howard Feed N wax.

Malak the Mad said:

Where would the new Ultra pup go, between the existing ones or on the other side of the split-coil?

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Original plan was to put it between the existing ones, J, J, reverse P, but now that you asked, I could imagine an Urge-ish setup, with a reverse P.

Edit: in the latter case it is clear: I need a neck pickup

i love the millennium basses so much.

definenredefine said:

People swear by Brooks leather saddles but I can't imagine they're really that comfy...

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I have 3 like new Brooks Saddles: B17 classic black, Swift w/ Ti rails black [TI rails model is discontinued], & [rubber all weather] Cambium C17 black. Brooks saddles are amazingly comfortable & break in much faster than expected.

I'd be willing to sell any of the above if anyone is interested.

Personally, I like 12s. Two of them. I know some use just 1 in certain situations, (and that's cool), But I use 2 of em, in all situations.


I know OP was looking for "alternatives" to the Brand, but like the title says "Share your Cabinet pairings".

Here's my 12s.. In ONE box.





Yea, the 'smart' thing would have been to get the more Rugged (and less expensive) black one. But, Dayum... I could NOT resist.

Like a Fine wine, "Pairs Nicely" with the 800+.



T$

Released just a few weeks ago.
"Hush" proves Wolstenholme’s bass isn’t just support, it’s a lead instrument. His effects-heavy, multi-amp setup gives the song its weight, balancing Goulding’s airy harmonies perfectly.

I'm going to lock this for the time being. Enough has been said to make the point.

Major Seven said:

How did they handle that? What happened ultimately?
Can youtube ban your own song from you?

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Youtube as a platform can pretty much do whatever they want, it's a very David vs Goliath situation on many fronts since it's a huge corporation and a privately-run platform. If your video gets challenged by somebody (or more likely, a bot), Youtube won't waste a second either taking it down or demonetizing it because a record label or royalty organization actually has money and power with which to litigate against them while an individual content creator likely has neither of these. You can challenge it through the platform and possibly get your video reinstated or remonetized, but the likelihood is high that you'll have to go through the same process again soon enough. These days there are tons of scammers actually taking credit for other people's music they scrape the internet for, then using that to file claims with Youtube and get ad revenue from the videos- again an individual can challenge this and maybe eventually win, but in the meantime some bad actors have made real money off of your work (the whole point of their scam). Even if you wanted to sue Youtube, almost certainly you signed away your rights to do so when you joined the platform so would be left to litigate under an arbitration agreement with a 3rd party of Youtube's choice.

Mr_Moo said:

I'd like to tap the great TB knowledge reservoir for some advice.

I need to reduce my cabinet herd, and am looking at putting my four Warwick 411 Pro cabs on the market. It looks like these are no longer made, as far as I can see. In trying to figure out an asking price, I found the WCA series cabinets. How do these compare to the 411 Pro? I have a feeling they're a more budget line, but nothing to back that up, apart from the lower power handling.

Note, I'm in New Zealand, so this is not pitched as a for sale thread here, and most of you would be appalled by equipment prices over here. Just looking for a comparision.

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7 Year BUMP!

Good question. Anybody?

Following..................

BassOx said:

Hello, I'm looking at the Celestion Pulse XL speakers but can't find any demos or decent reviews online. Can anyone share their thoughts on these?
They're interesting as the frequency response seems to be almost flat down to 60Hz, and even 30Hz is only ~ 6dB lower. I'd use one with a Pignose G40V (miniature Bassman) and build it into a sealed cab. I play a Fender precision tuned to low B and a Warwick corvette 5 - usually with a clean or slightly overdriven amp tone and sometimes with a nice H&K tube factor in front! It would be used more for recording than live so I'm not worried about getting lots of volume.
Any advice would be helpful and welcome, thanks!

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Take this with a grain of salt. I don't have the experience and knowledge of others who are here to help.

I have a few of these speakers (ported 4x10 and sealed 1x10). The sealed 1x10 is in a 1 cu/ft enclosure. It's modeled F3 is at 65 Hz and at 30 Hz it's about -15 dB. Around 60-65 Hz and below you'll get about 200 watts before having Xmax problems. And that is likely still being optimistic (aka, ignoring EQ, playing style, and the rest of your setup). If you did ported in a 3.283 cu/ft cab (manufacturer recommended spec box) you'd run out of Xmax at a lower wattage (around 40-70 Hz, as well as at 31Hz and below). As in, 150 watts would seriously be pushing its limits.

I strongly prefer no tweeter (or tweeter off) in my setups, so I very much enjoy what I can get out of these speakers. I will say they do lack some of the high end clarity of a better speaker/enclosure design by professionals. For example, with my GK 1001RB Legacy through my Genz Benz Uber 410 I can have the EQ flat and feel like I have a great coverage across the spectrum of frequencies I'd expect out of my basses. If anything, I need to roll off a little bit of the high end. With the Pulse XL 10.20 I find myself needing to boost the hi mid and treble a good amount. Even so, it's not in the same ballpark as the GB 410.

I think they're a fine speaker to tinker with and can absolutely get good sounds out of (depending on expectations and genre). I don't think they're necessarily on par with something you could get out of a proper speaker cab made by professionals. For versatility, I would imagine buying a properly built cab would be a better route (look at used gear, plenty out there).

Kaa said:

View attachment 7538103

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Given the OP, I think this is actually a reasonable answer.

That's (unfortunately ) very interesting! Thanks
Louis

Darkglass 212 and Bergantino HP2x.

Loaded with different software, this rig is a universal beast!

All we are is just another brick in the wall

otto B said:

Here is a question: Would you get a mint condition discontinued Amp, like a MarBass F1, Genz Benz Shuttle and many other amps?

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I mostly use Marshall amps and cabs. All discontinued. Lovely sound, clearly defined notes with warmth and note thickness. It's what I paid for.