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paddydaddyo said:

I feel certain Phil designed the circuit with a LOT of planning and consideration, so I have a hard time believing he would have offered three "throw away" settings ... which makes me wonder: Am I using it wrong?

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Relsom said:

Good questions. Maybe @Jon Scott can fill us in a little.

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More extensive information on the 9V and the 18V preamps is being compiled and will be posted on the website when it's available.

I have a set of KZ S10 pros. Currently there is a decent Amazon Prime deal on the Pro 2s …

Are they an upgrade for silent rehearsals in a band mix?

Oh, also! IF any of y'all have old homemovies or recordings of television on VHS tapes that you want digitized or don't want anymore, let me know. I would happily digitize them for you if it meant I could then purchase or keep the tape for future recordings like this. I have plenty of tape but what I don't have is already recorded on degraded tape that will have artifacting and bleed through from the lights. The best example of the effect this causes is this cut of a different gig from the same tape

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Steven Quick said:

I have an early prototype TNT head.

The circuit is pretty much a Fender Showman.

I can take some measurements if you want to make a copy of this "Frank Coolie Fender-copy".

SQ

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Hey Steven,
I can measure my TNT and send the results.
This amp has not been played since a re-tube and tune-up in the early 2000's.

The advice of zooberwerx ^^^ is probably the best. But to answer your question, I get that evenness and punch from an MIJ PBass (such as a roadstar 630 or 650 or my 82 Blazer), a Dimarzio style P pickup such as the early 80’s Ibanez’ Maxon copies, a GK RB series amp (400RB, 700RBii, 800RB) and a compact stack of two Bag End S15 cabinets.

This setup has a little grind to the tone, which is one great way to get a balance of warmth and clarity — even though a touch of grind is actually distortion, it comes across in a big rock mix as clarity.

Login to view embedded media Just posted this in the roadstar club thread, but here is a little train beat original at this weekend’s brewery duo gig. You can hear the bass speak in its mid register in the intro, and then I hang out plucking the E and A. I’m plucking gently on the E because of the small room, but you can hear it articulate on the chromatic run back up to the Ab at the chord change. It feels even and clear to me

LowEndLobster said:

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Mod complete! The result is ridiculously good. EMG MMWTX in the neck position, MMCSX in the bridge position, ABCX blend control, push pull volume, Trickfish IPA preamp with 90hz bass, 663hz mid, and 6khz treble. Had to drill out the pot holes a little and dremel the pickguard a smidge but otherwise was smooth sailing.

Waiting on the stacked guyker knobs for the bass/treble control

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One popped up on GC used. On its way!

ggvicviper said:

The auction shows us a bass that has darker steel strings with angled shine rather than rounds, and there's blue silk wrap on both ends. Totally Chromes. The video he posted before he gave the bass up also has those strings, and it has that aggressive sound, but with a darker character:

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I'm not sure when he put those strings on the bass, but probably at some point after he stopped using it as his primary recording bass in the middle of the 80's.

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“Yes, I was there”

iiipopes said:

The set does what you want it to do at the price of a set, not the extra cost of buying singles. Hopefully you can find a solution to your E string issue as I did.

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I honestly wasn't aware that that particular set existed. Looks like about a $4 difference over single strings. I have a Dunlop set on the way and will be checking out Newtone strings.

Haven’t looked but this has ‘Canadian’ written all over it!?

I appreciate all the feedback!

Speaking of amp overhang: I've never been comfortable gigging my D-180 or 400+ without a rack case. Some other cases might be narrower or wider, but my old Pearson case is 1-3/4" wider than my 215 Mesa Subway cab.

DuluthDank said:

I just got a used set of NJ4SV's, and I notice they have slightly raised middle poles as well. Were yours the vintage, 7.25 radius or normal radius set? I had expected mine to be flat as they were sold to me as the normal radius, but maybe they all have raised middle poles?

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I believe they all have raised poles but you can always check with Nordstrand.

stingray69 said:

You might look into something like the Zoom MS60B+, it has tons of compressors, preamps (like SansAmp, etc), overdrives, amp sims, EQ's.

It offers all kinds of effects as well, if you like choruses, reverbs, flanger, delays, etc. It's easy to get some great tones, and it doesn't cost a fortune.

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Any used Zoom, for that fact...I use the B3n 'cuz I can actually see the durn display and turn real knobs. 20% of the available FX are actually pretty decent.

Riis

TAKUMARU said:

To be fair, that difference in the low-mids might partly be due to the action. I keep the string height on my '66 set quite a bit higher, whereas the Lull is set up lower. But even when switching to the P4, I was able to tweak the EQ on my rig to get it into a very comfortable ballpark.

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Also, the difference in string height might also mean a difference in how close the strings are to the pickup. They might sound even more alike if you tweaked the pickup height on one or the other.

I remember the bernie mac show he had a lovely fiesta red P hanging in the background

e-flat said:

GHS Balanced Nickels would be an awesome choice for a warm Nickel roundwound set. A bit more $ but also worth checking out are the Pyramid Nickel set (Blue Pack) - laid back with nice mids, not quite as supple as the GHS BN, but just as unique in their tone.

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The Pyramid Pure Nickels are my favourite string. Pity about the price. I've just bought 2 sets of CME/LaBella Pure Nickels to try. If they're anything like the Pyramids, they might be my go-to.....We'll see what happens once I have them.

duncan-rtfm said:

Hi,
I am currently building a KK "Baby Bass" look-alike (well, sort of). I have been reading about Matthew Tucker's "Responsive" bracing system. He provides (as you know) a lot of detail, certainly enough for me to use his system. However, he sometimes mentions the TOP of the bass, and shows a photo of a cross-braced top. So I;m a bit confused. I get the back bracing. But how do I brace the top?
https://4ormat-asset.s3.amazonaws.com/vfs/853749/public_assets/54992433/responsive bracing article Amended Jan 20191.pdf

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I don't think the article mentions the top of the bass. The bracing is for the back. The top is done differently with bass bar and soundpost, and out of the scope of my article.

The Sugar Hill Records rhythm section, which included Wimbish, Keith LeBlanc (drums), and Skip McDonald (guitar), was the backbone for many classic hip-hop tracks.

I used a Keeley for several years and liked it but I am now using an Empress.
I like the Empress better because it has metering LED's which make it easier to dial in and it also has a Blend control which I find useful.

zenrubrica said:

hey guys, anybody here has a copy of Bass Player Magazine issues June & August 2006. I'm after the transcriptions. It's Blood Sweat & Tears' You Made Me So Very Happy and Aretha Franklin's Rocksteady. I hope you can help me and send me PDF copie(s) of the transcriptions thru email.

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Hey - I found the issue(s). Hit my email: [email protected]

-Boscoe- said:

Love it!

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Thanks Boscoe.

First time using ramps. It's like a long runway for your thumb.

LowNote said:

I've tried running my Stat-B with a Raven Labs PMB-1 instead of the pre-amp that came with the Schertler. Even though I had some email correspondence with Schertler and Raven at the time I was going to try this that said it should work, I was never able to get it to work. I didn't spend a lot of time trying to figure out what was going on since I've found the little pre-amp/phantom power source that comes with the Stat-B to be very quiet and just fine. I'm running this directly into an AI Contra or a Walter Woods, and the EQ controls on both amps are fine on their own. In fact, the sound of the Stat-B is so accurate and natural that I've run it directly into the Effects Return jack of a GKMB150 which sounded great with absolutely zero EQ control.

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Doing some reading up on the Stat-B recently and attempting to close the loop on this. I'm assuming you used the cable that comes with the Stat-B. I think it didn't work because the Stat-B needs the power on the tip of the TS 1/4" jack but the Raven Labs PMB-1 puts it on the Ring of a TRS 1/4" which would translate to it actually being applied on the Sleeve of the TS 1/4" - shorting with the ground and no voltage going anywhere.

From: http://soundchunks.com/RL_PMB-I.pdf page 2:
"PHANTOM POWER SWITCH Pushing this switch in provides nine-volts DC to the Aux/Mic input jack or to the Ring of the Stereo jack."

+1 to Rotosounds. Bright, vocal mids, consistent across all 4 strings. Not the smoothest windings on the steel Swing Bass, the nickel Roto Bass could be better.

Other rounds I'd recommend:
- La Bella Deep Talkin' Rounds (unfortunately they only make a medium-scale 760RHBB set now)
- Gibson Brite Wires
- Thomastik Jazz Rounds (not my favourite, but come reasonably close to Jazz Flats)

OK, I hate to be the one to ask this question, but I have not seen nor heard from @B-Mac for several months. He was the "Resident Dean Enthusiast" and knew pretty much everything about Dean instruments. I attempted reaching out to him about 1 month ago, but no response. Does anybody know anything about him? I truly hope everything is ok.

Based upon what generally were stellar recommendations, I've had a not-so stellar experience with this vendor. You would think that an experienced shop would question the customer on what the toggle switches of as pedal are supposed to do, or at a minimum, use the internet to research (YouTube is full of demos, reviews and folks extolling the features of pedals they have).