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Guiseppe · Friday at 10:56 PM

InkCow · Friday at 10:55 PM

arakiri said:
speakin of line6 i been lookin at the pod expres....

I have one that I have on my “small board”. When I got it, my expectations were to use it with my HX One as a nice, compact gigging solution.

But after I got it, I don’t think the HX One would really add anything. I have it on a board with a cheapo tuner (because I had it although I don’t have an issue with the Express’s tuner arrangement), Walrus Audio Kangra (again, more because I had it), and a Valeton GP-5 after it (once again, because I had it). The idea behind the GP-5 was to provide reverb, but I never actually use reverb. However, it’s great for streaming Bluetooth to to play along with.

I greatly prefer the Pod Express’ UI to other multi effects (the GP-5, Zooms, etc.): I’m pretty set and forget. The amps sound good, the effects sound good. I think people really underestimate its real world potential based on its design limitations.

Yahboy · Friday at 9:46 PM

Add the Fender bassman driver pedal on my knock off pedal board setup. Now i have both grindy SVT-ist tone and creamy fat bassman-ist tone from my RB112 stacked.

Drummerdan · Friday at 9:16 PM

I think this is perfect for our group. Happy Friday all.

Major Seven · Friday at 7:24 PM

hbarcat said:
CHEVY SUBURBAN
7th Generation (1973 - 1991)

The Chevrolet Suburban was introduced in 1934 and has been in continuous production to the present day, after 11 distinct model generations. It's the longest-produced automobile nameplate in the world.

It began as one of the first metal-bodied station wagons, and is the progenitor of the modern full-size sport utility vehicle. The Suburban combines a wagon style body with the chassis and powertrain of a pickup truck.

The 7th generation Chevy Suburban, sold from 1973 to 1991, was slightly larger and heavier than its predecessor, abandoning its carryall past. It was completely re-engineered as a station wagon style body with four full passenger doors.

View attachment 7560907

As the term "sport-utility vehicle" was more closely associated with off-road vehicles (such as the K5 Blazer), GM designated the Suburban as a truck based station wagon.

Alongside the long running twin panel rear doors, the Suburban adopted an optional tailgate style rear door with a retractable rear window.

Though technically fitted with only a front bench seat as standard equipment, the Suburban was offered in multiple interior configurations, offering up to nine passenger seating. Bucket front seats became a front seat option in 1978, with the third row seat changed to a quick release design for 1979.

View attachment 7560908

The Suburban shared several engines with the C/K pickup truck line.

A 250 cid inline six was the standard engine through 1979. The model line was offered with a 307 cid (1973 only) and 350 cid small block V8s. A 454 cid big block V8 was optional in C series Suburbans.

For 1976, the 350 V8 was joined by 305 and 400 cubic inch V8s. The latter was discontinued for 1981.

For 1980, V8 engines became standard for the model line, with the 305 returning as the standard engine for 1981.

For 1982, GM introduced a 6.2L Detroit Diesel V8 as a higher efficiency alternative to the 454 V8.

A three speed manual transmission was offered through the 1980 model year, with a four speed manual offered through 1987.

Initially offered with three speed Turbo Hydra Matic 350 and 400 automatic transmissions, a four speed Turbo Hydra Matic 700R4 became an option in 1981.

For 1980, K series Suburbans moved from full time 4WD to a part time system, allowing the front axle to freewheel.

For 1981, the shift on the fly 4×4 system adopted automatic locking front hubs.

For 1987, GM redesignated the Rounded Line C/K series as the R/V series to accommodate the launch of the 1988 GMT400 platform C/K trucks, which were being launched in the spring of 1987.

The gasoline engines of the model converted from carbureted fuel delivery to electronic fuel injection using throttle body injection (TBI).

For 1988, the 5.0L (305 cid) engine was dropped from the line, with the 5.7L (350 cid) V8 becoming the standard engine.

In a trim revision, the R/V line adopted the nomenclature of its GMT400 successor, with all vehicles adopting the 1500/2500/3500 payload series (previously used by GMC).

For 1989, the exterior underwent its largest revision since its 1973 introduction. Adopting a style similar to the GMT400, the black painted grille was offered with quad headlights (economy trims were equipped with two). After using the same design nearly unchanged since 1973, the steering wheel was replaced (adopting the same design as the GMT400).

For 1990, the Suburban introduced power-operated sideview mirrors, also adding the option of rear wheel ABS. Alongside the Suburban and Blazer/Jimmy, the R/V line was pared down nearly exclusively to one ton crew cab pickup and chassis cab trucks.

For 1991, the four-speed 700R4 automatic transmission was replaced by the electronically controlled 4L80-E unit. After an 18 year production run, the Rounded Line Suburban ended production as GM shifted crew cab pickup trucks and full size SUVs to the GMT400 platform for 1992.

Throughout the run of the 7th generation, three main trim levels were offered by both Chevrolet and GMC:

-- The “fleet” grade Sierra and Custom trucks with rubber floor mats and bare bones options.

-- A mid-tier trim package in the form of the Sierra Classic and Custom Deluxe/Scottsdale.

-- An upscale Sierra Grande and Silverado package that came with better sound deadening, power everything, and front and rear heater and air conditioning. In the context of the ’70s and ’80s, this was serious luxury for a truck.

Despite the very last 7th generation Chevrolet Suburban being built almost 35 years ago, there are still many on the road, often in great shape, and there is a vibrant market for them typically selling for around $10,000 in good condition, and up to $30,000 for exceptional examples.

Unlike many other "vintage" vehicles on the for sale/wanted market, their value isn't based on rarity. In fact, they're still quite common.

The '73 to '91 Suburban was simply an extremely solid, utilitarian vehicle. It could haul heavy cargo without straining the engine or chassis. It could tow massive loads. It could switch with ease from comfortable highway cruising for six (or even more) passengers, to tackling rough, off road terrain, or even handle icy conditions and plow tbrough deep snow. Countless suburbans doubled as winter plow trucks.

More than that, they were bulletproof. The engines could take hundreds of thousands of miles of abuse and keep running. The mechanicals were engineered to be simple and robust, but if anything needed replacing on a Suburban, parts were affordable, readily available, and easy to access, even for DIY mechanics.

Not surprisingly, 7th gen Suburbans are extremely popular with hot rodders. Many are modified to tackle brutal, off road terrain, with massive tires and beefy upgrades to the suspension and chassis.

View attachment 7560909

Still others modify the engines for power and speed. Even mild upgrades to the base 5.7L small block engine will easily produce 350 - 400 horsepower, while the 454 big block with stock bottom end internals and modest upgrades to the air and fuel induction system, intake and exhaust manifolds, and a bigger camshaft will get you into the 600 hp range without breaking parts or your wallet.

WIthout question, the Chevrolet Suburban is one of the most important vehicles in all of automotive history. Over 800,000 7th generation Suburbans were sold from 1973 to 1991.

They were a particularly significant milestone because they represented a qualitatively measurable shift from more primitive technology and engineering, to what we recognize today as more modern features, performance, utility, capacity, efficiency, safety, and quality.

Very few vehicles are so beloved by the public that they can still be commonly seen on the road decades after they were discontinued because their owners will never get rid of them. The 7th generation Suburban is one such vehicle.

hbarcat said:
More than that, they were bulletproof.

A marine friend told me they were the preferred vehicle of the Taliban for that very real reason.

Dincrest · Friday at 7:17 PM

I'm trying the Warwick Red Label nickels on one of my basses now. A 35" scale Spector Legend 5.

I like that these strings come in a 40-60-80-100-130 gauge, which is rare in a 5-string set but a gauge I wish existed more in the wild. If I wanted another 40-130 set, I'd have to order singles from SIT or something and build a custom gauge.

First impressions are that these Red Label nickels feel stiff and rough compared to other NPS strings I like, but their tone is good (at least now while they're fresh. Gotta see how well they break in, since I prefer broken-in strings over new-string sizzle). But for the price I paid (under $20 for a 5-string set), they're a great value string. And the way the windings loosen at the tuner ends looks really cool IMO.

Would I use/buy them again? No. But they were definitely worth a try, especially considering the price. Worth a shot for that alone. And I am something of a string-GASer.

JazznFunk · Friday at 7:17 PM

DaveDoBassGood said:
I've had this SM-400S for a little while. I've been playing SWR for about 18 years. I recently got an Ashdown head and have since quietly retired the SWR. I love the way it sounds, but it just doesn't have the "oomph" I get from the Ashdown. It's a hell of a head, though!

View attachment 7562412

Understandable. They're polar opposites in terms of tone 'goals' for each amp's design. I played through many of those heads as backline on many occasions. Rock solid!

Thir13teen · Friday at 6:36 PM

This gig was $5 all you can drink beer & liquor. Shot at JimmyZ in Everett, WA. i had the flu that night which is why I was pretty low energy. Crowd seemed to like it though

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buldog5151bass · Friday at 6:35 PM

Another one came up. @Skeezix is this enough for an acoustic gig, or strictly practice room amp?

Hamrlik · Friday at 6:09 PM

Weird

Bent77 · Friday at 5:50 PM

Contacts inside the pot are likely not 100% anymore due to wear or contamination

I replace them when they get like that

MultiScaleMale · Friday at 5:48 PM

I've also picked up some great knobs from D-Cline but it looks like he stopped making knobs. Looks good!

Dr. Cheese · Friday at 5:47 PM

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Sounds really good as he always does.

thump54 · Friday at 5:34 PM

pwilson said:
Hey everyone,

I'm looking for a sanity check on my signal chain.

I’m fully in the modeler camp (previously used an HX Stomp and Nano Cortex, now using an Anagram, which I love). Lately, I’ve been running ampless directly into the PA for a couple of gigs. While the Anagram sounds great, I like having an analog preamp/DI after it on my board to add a bit of saturation/warmth and access to a volume and EQ controls.

Here’s the path I took to get here:

Mantle (~$750): Found it way too subtle and nuanced. Didn't feel like it was adding enough to justify keeping it.

Capo (~$500): Loved the sound, but I was only using about 25% of its functionality. I don't need post-modeler overdrive or distortion channels, so it felt like overkill.

Mesa Subway+ DI-Preamp II (~$200): This seems to be the sweet spot. It gives me input saturation, tone shaping, a simple master volume, and basic EQ—all at a reasonable price.

My question for the forum: Am I using the right tool for the job here, or is running a dedicated preamp/DI post-Anagram redundant? Are the tonal benefits real, or am I just placebo-ing myself because I like the tactile controls?

Also open to suggestions if there’s a better/simpler solution I should look into, or if I should just trust the Anagram to feed the PA/power amp directly and call it a day.

Thanks!

When I run my Stomp, I really like having an outboard compressor in front and a transparent preamp (like the Broughton Messenger Jr. or the Tech 21 Q strip) after to make quick on the fly changes. Could I do it on the Stomp? Absolutely, but ain’t nobody got time for that! Plus it’s nice to have a backup!!!

SharpCat · Friday at 5:33 PM

Dunno if these are new or not, but I haven't seen them before. Don't know anything about them, but AllParts sent me an email that looked pretty nice. Caveat Emptor!

AllParts Pickups Look for the Razor logo. They seem to have "Full Moon" and "Blood Moon" flavors of P, J, and 51P pickups.

instrumentlevel · Friday at 5:31 PM

ajkula66 said:
That sounds like markings on a '70s Fender given the Torres name which I've seen on those before.

Agreed. I have a ‘72 precision with a jazz width maple Fretless neck made by Torres that is awesome.

If you want to explore the dating, hit GGJaguar's Guitarium and Ampeteria Dating 1970s Fender Guitars by Neck Code and go down to the part that goes into the “ 1972 – 80 coding system.”

Usually, the relevant parts of the date code are two 4 digit numbers. Thinking maybe you dropped a zero in the first set (hence why pics are helpful). If you go with the guide, you can decode the number 0100 and 5155 as the manufacture date of a neck.

01 = precision bass neck
00 = rosewood neck
51st week of the year
Year 5
Weekday Day 5

Aka: a rosewood precision bass neck made on Friday, December 19, 1975.

So, is it a rosewood pbass neck? (Hence the helpful pics!)

Anyway, that’s how those are decoded.

And it was made in the US. They were all made in the US in that timeframe.

crazycloud · Friday at 5:29 PM

Gilmourisgod said:
I always thought a fun project would be to build a replacement body out of lighter wood.

Changing out the bridge would give about the same result for a lot less work. It weighs a bleeping ton.

dmrogers said:
Personally, if I had a T-40 that was in good shape, I would just clean it up, set it up and play it.

Mine is really pretty and such a great bass. As I'm thinning the herd substantially, it's one of the few 4s I'll keep.

PS: @area_man - no pics, no bass.

Michael Jewels · Friday at 5:22 PM

And, for those not familiar with the streets of New York…

A few short blocks up 8th Avenue is, Madison Square Garden.

Super Bass · Friday at 5:14 PM

I love your new bass! Congrats!!

who · Friday at 5:01 PM

neil|lien said:
Well i guess i wasnt allowed to ask here or in the Ibanez club.

You have to be a supporting member to offer basses for sale or trade.

TolerancEJ · Friday at 4:50 PM

I still own every bass, except my first one. It was a blue Vantage FV-575B Flying V Bass. It looked just like the included photo. It got my feet in the door of the bass world. Being a V-shape, it had neck dive. To sit down, I needed to tuck the bottom wing between my legs. The volume wasn't very loud either.

kiat · Friday at 4:37 PM

I made this kit for myself as I wanted to find a way to charge and hopefully monitor the battery in my active bass (converted with a John East J-TONE from a passive Lakland JO5). I liked it so much I showed my bass mentor at my last lesson. He also wanted one so I ordered parts for it and enough to make a couple more in case others wanted one (I advertised them on basschat as I live in England). Each kit took well over an hour of my time to order, receive, adapt, assemble, measure, cut, solder, pre-test, glue, heatshrink, post-test, package plus time to handle posting. It's a fun little project but a bit of hassle to make loads of them!

Collin Bass · Friday at 4:10 PM

I'm in need of a little help, friends. I've had this Ernie Ball Music Man Stingray Special just over a week. Was loving every minute of it. Played it for quite a few hours in the last week with the batteries that it came with and everything was perfectly fine. Then two nights ago I noticed that it was suddenly making lots of what sounded like 60 cycle hum, or bad ground. Fresh batteries worked temporarily. Played for about an hour, nice and quiet again, I thought it was fixed. Left in it's case over night and today when I went to play it, zero output. (No, this isn't my first active bass, no, I don't leave the cable plugged in and every time I'm done it sits upright in its case in my humidity controlled closet, and I haven't banged it at all. It has been played only in my office at home)

When I put a second set of fresh batteries in today it was noisy no matter what I did. Sounded farty when playing, like dying batteries, but again they were freshly unwrapped (both this set and the last) and they are not not old, expiring in 2034.

I just ordered some fresh batteries from Amazon and a battery tester as I cannot find my multimeter. I should probably order one of those, too.

Anyways, it feels like the batteries are in there nice and snug. Nothing rattles if I hold the bass to my ear and shake it lightly. Sticking a flashlight in the jack tells me at least THOSE contacts aren't touching. And when I opened the battery cavity just now I lift the contacts with my fingers ever so slightly to make the batteries even more snug. Still nothing.

When my battery tester gets here I'm know if they don't have juice that there's likely a short somewhere as batteries shouldn't be draining from just a bad ground. If the batteries still seem to have plenty of juice, though, then I'll assume there's a loose contact somewhere. Maybe in the battery box?

Have you guys had this problem at all? Where did you find your short/loose connection?

Thanks in advance.

(Picture for attention as I don't seem to be able to upload even a short video of the noise)

Wyvern · Friday at 4:04 PM

Bikeguy57 said:
View attachment 7562194 View attachment 7562195 View attachment 7562196

eh_train · Friday at 4:03 PM

Bander said:
... force the wood to meet and align...

The above is what concerns me. I think the rib will resist being forced, particularly as it's curving in two different directions. You can already see, in the third pic, that there was a parallel crack that was repaired. So what happened next? The current crack.

james condino said:
... This won't be the only rib crack on that bass...

Yup, most likely parallel to where a forced repair happens.

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