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OK, folks. Let someone who's designed pro audio circuitry shed a bit of light on this subject, for folks that come across this thread in the future.

Passive DI boxes are transformers in boxes. Transformers isolate (break ground loops ) and they can also change levels and impedances. A JDI (fairly standard passive DI) has a 12: 1 step down transformer - given that impedances go with the square of the turns ratio, that means it steps the impedance down a factor of 144. That means you can plug a bass or guitar into it, and with a mic input as a load, the input of the Di look high enough impedance that you don't load it too much - typically it's a bit more heavily loaded than a 1 Meg amp input, but it's usually OK.

Now, let's say you have a pedal (or an amp sim), or literally any thing that buffers the signal. A buffer has a lower impedance on it's output than it does on it's input - that means, if your source for the DI is a pedalboard, with at least one pedal on at all times, you don't really need as much step down as there is in a typical DI. I have a couple pedalboards that have Di's that I built. Oddly, there are transformers made for this application - 4:1 step down transformers - Jensen makes them as wel as Hammond. A 4 to 1 step down (being less of a step down) gives you about 10 dB more level than as 12: 1 step down, with the tradeoff being that the impedance stepdown is only 16:1 . In a lot of cases, that extra level means less gain is needed on the mixing board. My pedalboards run a fair amount of gain - roughly 20dB signal gain from the instrument to the input of the DI - I do this with a very quiet gain stage early, to keep the hiss down from later pedals in the chain. With a 4:1 step down Di, taking away about 12 dB, the level to the mixing board is about 8 dB hotter than the instrument alone, and compared with a bit over 20dB loss on a typical DI, that's a 28 dB hotter level. Curiously, this works every where I've played, and FOH folks are happy with more level.

A Radial Highline uses a 1:! transformer - it's a DI for a slightly different case. If it's feeding a typical mic input (which nowadays run a couple of kOhms), so long as the output impedance of whatever pedal is feeding it is well below that, it'll work just fine. You may not want to run much gain in the pedals before it - in my case so long as I run 8 dB or less, I shouldn't have issues. I have a set of pedals where the one driving the Highline has 100 ohms output impedance (that should work well), and they are quiet enough that they don't need as much gain in the chain. That pedalboard is up and running circuit wise, sith very good results.

There isn't anything magical about an "isolator" vs a "DI" - they are not as different as you'd think (they're both transformers in boxes), and so long as you understand what the limitations are, and you have gear that fits within those limits, you can use one in place of the other, and sometimes get performance advantages from using the "wrong" one.

No way to know what it really is if it’s been rebuilt since factory parts are not available for any of those series drivers.

mickebas said:

It’s sounds really good. Full range, rather warm sounding. A bit on the heavy side but light compared to many classic 410s.
I’m happy

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Correct, at the time it was introduced, it was a lighter than average cabinet but not as light as the Shuttle or Uber series.

iiipopes said:

Have you tried using a .068 capacitor? That is the common capacitor between the stock .047 and the .1 cap. Similar rolloff, with just a hair more definition with your settings compared to the .1 cap. Just a thought to try sometime. On one of my basses I have my tone control wired on a push-pull so I can have the typical .047 cap or pull to add a .022 guitar cap in parallel to get to the .068 (well, of course, .069, but if you can hear that difference I'll buy the beverages). You can do the same thing with a .068 on a push-pull with a .033 added in parallel to get your .1 when desired.

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I actually tried several values, including that one. I kept the 0.1 in there because it was the best match to how I play, the music I play, and how the sound techs I worked with typically set (past tense) BG eq as their starting points.

This is one reason why I'm not bothering to learn to double-thumb! My nails are definitely not up to that kind of thing without splitting longitudinally. The other reason is I prefer to bounce rather than follow through.

MrVentures said:

Sounds pretty good in the fretless configuration

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…looks awesome too!

This, is now, my latest jones:

iqi616 said:

A serious question: would a humbucker make a noticeable difference with heavy distortion?

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In my experience yes. As long as a loud amp is involved, very heavy drive and a single coil can lead to uncontrollable feedback.

First upgrade: Fender bridge
(And La Bella Slappers strings)
Pickguard has left the building.

May be the neck has twisted. Check the relief on the E and G strings.

CTBassGuy said:

A suggestion, if it really is a finish issue between the neck and fretboard wood, is to use the same method to deal with a slightly raised skunk stripe on a Fender.

Basically, you take a new razor blade and lightly drag it along the raised section and it will scrape off the raised section to level it out. On the bass I used this approach, it leveled out the raised area, and I could not see where it was done after I rubbed it down with 0000 steel wool.

This video, presented by Andy Brauer (he's an interesting guy), illustrates the method for addressing the skunk stripe starting at 23:52. Worked great for me.
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That would have to be a VERY heavily sprayed finish to add up to that many mils on either side. Skunk stripe is different too because you come to level on either side of the stripe. Not so in this situation.

baregroove123 said:

Much thanks! I have offer to buy it for 4000€. Bass plays great. Is this fair price? I see them in Reverb for 3600-4500

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I think you answered your own question. Reverb is about as close to market research as you can practically get.
Did you look at sold listings?
Filter&Sort
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Sold

LadyLoveStingRay5 said:

I think you misread or misunderstood the op. He isn’t referring to Antigua finish. He is speaking about a brand made at the Grand Rewards Factory . This is the same factory that produced the original version of the Squier by Fender Classic Vibe Series.

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Got it, thanks for the clarification. Learned something new today!

Is there any video of Edgar Meyer playing the Green Groves of Erin? I've found decent fingering at human tempo, but I'm curious how he does it at Meyer-tempo.

I have bought a Santa Fe Hybrid with AWD. Hopefully it will do the job! Thanks for all your suggestions!

Hamrlik said:

Thanks for the feedback. I'm sorry to hear about your back issues. That's no joke. I deal with constant rotator cuff inflammation from my job which is a factor in my next cab purchases. The Bass Array series is on my short list.

LFSys is a really interesting platform. I wish they had more presence here in the States. What's your impression of the Monaco?

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Thanks. Sorry, missed this post. Same to you about your rotator cuff. FWIW, I find the NC212 to be a very easy schlep for it's size and output - way easier than the BA410 I had before, though I do sometimes miss that huge tone.

The Monaco is even easier, but obv it's a 112 vs 212. The shallow depth makes suitcase style carry very easy.

The Monaco is my first foray into FRFR style cabs, and while I'm still adjusting to it, I'm loving it! Mostly, I'm still fine tuning the high end of my tone since I play with drive 90% of the time.

Turning it up at home, it seems all the comments over on basschat hold up - even sounding and loud for it's size. I haven't been able to put it through it's paces with a live band yet, but I'm looking forward to seeing what it can do, particularly in the dispersion department.

Because of that interview I broke out John's first solo album yesterday after too long a time, so good. I was really digging the sound of his old Ken Smith bass too.

All done. A tad over 7 lbs. No neck dive, the Hipshot (USA) tuners fixed that. Letting it settle down. Very pleased.

Michedelic said:

Quite a few personal audience videos on YT; you and Jason rocked! Talk about an old timey style “Hollywood Cavalcade Of Stars”, the finale was touching.

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Ah that's nice to hear! Yeah, def had that old timey vibe to it: 75% variety show, 25% community theater haha. One of most odd and frankly somewhat out-of-character gigs I've done in a long while. But it was earnest, heartfelt, and seemingly deeply meaningful to those in attendance.

sleepy_monkey said:

Are those actually carbon fiber or just textured like carbon fiber??

That looks nice!!

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Yeah I believe they are. The guy is super nice. I like them but the tone difference is enormous between it and the telefunkin. They dont come to a point at the end unfortunately. Im gonna talk to him about an upgraded design here soon so well see! Guy makes really cool picks he sent me a bunch extra.

My situation is unique and I empathize with the op. I love Warwick too. Years ago I did something I regret which was sell off my corvette 5 string thinking I replace it with a thumb and I’d be ok. Turns out that I miss the corvette whether I had a thumb or not. I bought that thing damaged and I repaired it. It was a bolt on and someone stripped out the holes to the neck joint. I got it home and got bigger neck bolts and added one in the center and it worked perfectly afterwards. As I look around not only do the used Warwicks not show up as often the prices are very much higher than ever. Used rock bass versions are even higher than they should be and going for what the old German ones were. My situation is worse because I’m left handed. I’ve seen a couple extremely rare basses pop up and damn I kick myself for not getting them. One was a zon that still haunts me. The other was a thumb that somehow the owner didn’t want at least 3 grand for. I have the added challenge where even mass production basses are rare and few in between let alone something boutique. And a lot of times it means I’m paying more than the right handed basses cost. So op if you’re reading just keep an eye out because you never know. Some of us have it harder than you do so don’t get discouraged.

Fazed said:

The story of my 1995 Fury and how it became a tribute to my baby girl.

Back around 2008 a friend gave me their 1995 Fury because it didn't work. Said if I could fix it, I could keep it. Turns out the pots were shot and the pickups were dead (it sat in a closet in a damp basement for a long time).

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In 2009, I stripped and refinished it with a rattle can. Added all new pots, jack, and wiring as well as a SD quarter pounder pick up. (Next pic is me playing it in 2009). A few years later, my oldest son borrows it for a show and it gets knocked off stage and damaged again (including a cracked pick guard). I Franken fix it and go on with it (next couple of pics).

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In 2022, my youngest daughter passed away at 3-1/2. She had Down Syndrome and she was my world. I was devistated. She would sit and play her toy guitar while I would play at home. She loved music and I loved our little duets together.

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Last year, I decided to fix the Fury again, only this time as a rememberance and tribute to my little girl Charlee.

I sanded it down again, purchased all new hipshot hardware. New pots, new everything... Including a custom pickguard from alperious custom pickguards. I designed it. He made it come to life. In this pickguard is my tribute to my girl. Blue and yellow (the colors for Down Syndrome awareness), her name in the outlines around all the different areas showcasing the things she loved like flowers, and butterflies, Frozen, and silly socks... T21 for Down syndrome, "The lucky few" a moniker for those of us fortunate enough to have a down syndrome child in our family. And lastly, her birth and death dates.

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I had a local friend and Luthier paint it properly with a nice nitro translucent finish, as well as refret the neck with banjo frets (personal preference). Lastly the Peavey Fury logo was removed and replaced with her name.

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It took a year from start to finish, and more money than I should have probably invested in an old Peavey, but to me... This is my jewel. A physical reminder of my happiest days. I've already played out with it once at church, and she sings beautifully.

Tomorrow marks the 4 year anniversary of her passing. It going to be a hard day. But I think I'm going to sit on the couch, put her little toy guitar next to me and play a little bit like old times.

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To me that’s money well spent. That bass is no longer just a bass. The loss of your little girl is tragic but you found a hell of a way to pay tribute to her!

Acoustic356 said:

It looks like Vanderkley's website it down. So is there Facebook page. Their Instagram is up, but it hasn't been updated in a few months.
My Spartan is still one of my all time favorite amps... I would hate to see them go. Last time I talked with Mark, he was working on a new amp design.

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I did try to order another Vanderkley 2x10 LNT cabinet, but the Vanderkley page was not there anymore. I have one allready a 210 LNT and a 212 LNT, two 210MNT and two Vanderkley Spartan amps. So now I am looking for a new, or mint second hand 210LNT.

BostonJazz72 said:

NCB (New Cab Day)
Received my Vanderkley 210LNT from Marc yesterday. This cab can get LOUD but still remain clear, warm and punchy as hell. I am pairing it with Marc's Spartan amp.
Specs:

• Model: 210LNT neolite
• Configuration: 2×10” Neodymium drivers + tweeter
• Power: 1200 Watts AES
• Impedance: 4 Ohm (8 Ohm on request)
• Freq. response: 40 Hz – 16 kHz
• Sensitivity: 100 dB 1W @ 1m
• Dimensions: H x W x D, 59 x 50 x 41 cm
• Weight: 20 Kg / 44 lbs

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For sale?

You'll easily find 3P4T switches and you can just leave the 3rd pole open.

I use these all the time. They work fantastically well.

JanSpeeltBas said:

Unfortunately my Lundgaard amp stopped working. My local tech guy cannot find what’s wrong and thus can’t fix it. Of course I tried contacting Jesper but no reaction there. I know it’s a very rare amp but does anybody by chance has any experience fixing an amp like this? It has an IcePower module. Those are supposed to be very reliable and sturdy. Has anyone here had IcePower failures?

It sure makes me consider the importance of service for special gear. Years ago I had a problem with my Acoustic Image Coda but at the time Rick Jones was still alive and he solved things quick and cheap. If now something would happen to my AI I would be in big trouble. The same reason why I avoided buying used Walter Woods or Elin amps. Great sound but no one can service these and any problem would be major. Sometimes this forum can help us out. Recently I had a problem with a mid driver in my Euphonic Audio VL208 and a member pointed me to John of this defunct company who solved the issue.

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There was a thread on TB about a shop that was willing to look at Walter Woods amps. Maybe he can help you.