deepbass5

Amen. Chris b.

[size=3]Hi Lawrence, seems I was wondering all the same things you were, as the amp seems geared toward an overdriven channel stomp facility. But it is better than that single market application. It can get a dirty if you crank the gain up to 3-4 o’clock; I only tried it to see. It is not noticeable at any normal gain setting, in fact the grit lovers may actually be disappointed in the amount of distortion available, and it’s subtle. That is not my bag at all, I just love the valve warmth which to be honest I did not think possible from just a preamp. I have previously owned an Ampeg B1, also with three valves and preset buttons; it was very nice but not as flexible as this or as warm. You do need to go easy on the settings at loud volumes and come back a tad on the contour to get some life and high mids back in your sound, basically what is a great finger style setting needs a tweak for pop or funk, sometimes I find I have no bass left anywhere to turn down. So I am obviously starting out too far that way. My only suggestion to GK is that it was a shame to have a channel footswitch for dirt lovers, when a footswitch for mid freq shift would have been for more useful. [/size] [size=3]Gig wise I set up both my amps on top of each other as a ready to go spare, and swap speaker and mains cables over, during sound check to see which suits the hall best, then end up swapping over in the interval.[/size] [size=3]It’s a keeper. [/size]

I can sympathise with the sentiment as we have a loud drummer who uses heavy sticks, but wonder if we bass players would accept it if the rest of the band told us to play with gloves on, use rubber picks or ganged up to set our amp gain to cap our volume. I think commitment by the drummer to practise to be able to play with a light touch when required is the way to go. Musicianship. Or buy Perspex screens and refuse to mic him would be another way. Recognising bad rooms with reflective surfaces and agreeing as a band before you start that we're gunna sound sh*t tonight if we don't all keep it to a realistic level, is always a good start.

Got mine from Markorbit and him from Owen. I was concerned that they both said the sound was not for them, two quick pass on's is enough to make you doubt the reviews. But I love it. Very warm old school. I use it with my EA 12” M lines This is now my main amp for swing band jazz gigs, I have used it for function band work but think I still prefer the flexibility and cut my Markbass LMK gives me, due to constant style changes, Funk, Ballard to Rock. Just worth noting here, I changed out the valves for some 40 year old as new boxed NOS British 12AX7's There is a difference in the warmth and bass and low mid, but not as much as I had been led to believe from valve buff web chat. So anyone thinking the same the selected valves by GK are pretty damn good. I got the AX7's from a radio buff friends shed, not yet negotiated a price but you can pay £80-£100 each. £50 the lot sounds about right for the improvement gained. If you do change valves best undo the bridge rectifier board cables then un screw this and the transformer, lift them out the chassis, to be able to undo the valve caps. You can't get a BA spinner to the nuts between the valves to lift these out three in a line. So has to be the incoming power supply that gets moved. Great Amp, would not part with it,

We did this about 10 years ago, never regretted it. Our keyboard player left due to work travel. Now = guitar, bass and drums. + Female vocal, We are now tighter, happier. I had to change the way I played which was a very staccato attacking punctuated style to be heard through the wall of synth sound. I can now play quieter sensitive phrases and be heard, we've got our dynamics back. And I know our new guitarist is with us for the same reasons, It gives him freedom of expression. There will be numbers you can’t do, but we don’t give up until we have tried them, Vocals make a difference, if three of you can sing harmonies.

Hi, I always recommend and used Madonna’s [b]Isla Bonita[/b]. It is a reasonable pace but is great for your left hand to get use to arpeggio shapes major and minor both forward and backwards without moving your hand. http://youtu.be/zpzdgmqIHOQ

Didn't know the Hives broke the states

[size=4][color=#222222][font=Arial]I take a spare everything, because i'm anal like that, but I was a boy scout and my paranoia has paid off on many occasions, I even take spare things others may need and they often have. If I'm involved the show will always go on. A good habit, but may be need a shrink. [/font][/color][/size]

Can't believe i missed that what a bummer. Always a bit of a hero of mine, good ole no frills working bass player.

I have been on here every day and only just heard that Duck died on Sunday. The bass community grieves the loss of another one of its greats. Donald “Duck” Dunn, member of the legendary Booker T and the MCGs died Sunday night in his sleep. He was 70-years-old. While initially his parents did not see a future as a musician for their son, Donald, a self-taught bassist, put together a vast and impressive career. He was overseas in Tokyo, Japan, playing bass on a tour with his long-time musical companion Steve Cropper, having played a double set that night at the Blue Note Night club. Along with Booker T. and the MCGs Dunn helped define what came to be known as the Memphis soul sound. As a session bassist, Dunn worked with the best of them through his career, from Eric Clapton to Bob Dylan to Neil Young, and in 2007 he was awarded a lifetime achievement Grammy for his great contributions to music

I got a Mey stool from Thomann, Germany over £100 prob £120 with postage but very good but heavey. check the site they have loads to choose from

On my P bass, cant get a pound coin under the 12th but can just get a £2 coin under the E but not the G. the relief is about 0.5mm would prefer lower but get buzz arround the 20, 21st

[media]http://youtu.be/V8M1DQuNVq8[/media]

Intersesting things coming out of this. I do use Mississippi for 16th notes. to keep track in a Bar so Miss - iss - ipp - i Miss - iss - ipp - i Miss - iss - ipp - i Miss - iss - ipp - i But not funny lyrics, But Ringo has been credited with "would you stand up and walk out on me" as opposed to John offering of "would you throw squashed tomatos at me".

Scatting whilst playing to drive the intervals home yes. Sing what you play has always been recognised as a good thing, but odd lyrics no, I would rather learn the actual song so I knew where I was.

I heard this on here first some months back, I have been playing for thirty years 4 string for first 20 and 5's for the last 10. and never noticed whilst overcoming the change and settling into the world of 5 strings. But as soon as it was mentioned I think there is a difference. I believe this is due to the dominance of the B which defines the majority of the neck relief, due to its mass and the tension the B string holds over the E string inside. I have three very good fives, but there is something an E struck on a 4 string has, compared to one overshadowed and damped by the tension of the B string by its side. I believe there is something in it. It would be interesting if a manufacturer could measure this with and without the B string on the same Bass. Volume, tone length of ring and harmonics present etc. I think it’s more than myth

Probably this one http://youtu.be/8roidAxzNzU

Interesting point Bassmonkey makes, which I can relate to on a few numbers, I would describe as concentration fatigue a bit like reading a book in the sun and the words start floating off the page. But in a band situation it is like listening to your own heart beat, and panics you that something’s wrong. I find this happens in the more simple numbers with a strong beat, instead of just going with the flow occasionally concentration gets you paranoid about beat placement and that the drummer is speeding up or is it me. And once you start to think the drummer is placing the 1 in front of the beat, you have a great desire to put the brakes on and steer the band into Armco. On talking the drummer about speeding up the whole band and singer say you were slowing it down. Uhhhh. This is opposite to zoning out and means you need a holiday.

Got a one o'clocker this saturday, so will probably have a knap during the third set. does that count.

Not as a Pro may do in some free jazz solo, but during a gig yes, but it’s coming back that’s dangerous, like waking up after an Op on Gas. My mini moments are when I have not heard the piece called, but recognise the guitar intro and start playing. Everything is fine but I haven't a clue what I’m playing, hoping at the end of the 8 bar the chorus will come to me as well. Not quite the same but as near as I get. If you consciously intervene you play a bum note

Just thought it is worth saying about the internal cab cable, and then the two to the cone probably no more than 0.5mm. so don't get too hung up But like you guys I made my own 4mm cables up. Speakons from Maplins and the low oxygen cable from Richersounds. 4mm is the largest you can get into a speakon terminal. best to tin it with solder first to avoid any of those strands making a mess of things. [attachment=106603:cable.JPG]

Loved the Fingers P, down the right hand side. What were you using to record that.

" Landlord said take a break now and let the pub fill up for while"

Clarky " are you playing tonight, or shall i come back tomorrow"