algmusic

I see both sides of this thread. I think the point was to look at people's settings. When I was a nipper there was a bass player I knew from church that always had a great bass sound and I always wanted that sound. I was able to borrow his bass on a regular basis and this enabled to start look at his setting for his 'sound'.. The only problem I had was to get his 'sound' because I soon realised that the settings changed all the time I later learnt two things that I missed in the past that effected his 'sound': The surroundings where the bass was being played, which changed on each gig - for more info see BussBass comments The bass playing I've realised now.. you have experiment and as your playing changes and tase do, that changes.. For me in general, I take a little of the treble and little mid boost and little bass drop.. But that's just the start... When I'm playing for others, it depends on the the sound that works for the band/artist

[quote name='Bankai' post='1141441' date='Feb 25 2011, 04:34 PM']Yeah, your choice of sticks is best compared to a bassist's choice of strings.[/quote] Agreed But I know amazing/top bassists who don't spend alot of time thinking about what strings they use and the same with drummers with their sticks.. It means nothing, it's quality of the player... Put Vinnie C with ahead sticks or nathan east with a rubbish set of strings.. They both still would sound amazing.

[quote name='krth1985' post='1141338' date='Feb 25 2011, 03:25 PM']I might be going off in totally wrong direction here but! Are using ahead sticks the same principle of say using a certain brand of string (some people play better, or think they do, with a certain brand) or using a certain pick for example? Such as using a jazz 3 over some paddle?[/quote] technically, yes and the point of judging someone before they play and only judging them on their gear (in this case sticks).. which is wrong!!

[quote name='Bankai' post='1141241' date='Feb 25 2011, 02:12 PM']Gear choices show the person's awareness of their instrument amongst other things. I'm away from home at the moment, I'm back tomorrow and will be making a video to explain my theory relating to ahead sticks. Show it to any drummer and I'm sure they'll agree with the ideas.[/quote] Really.. wow. I'm a drummer (first instrument).. don't spend too long though, it's only a thread :-)

[quote name='Bankai' post='1139521' date='Feb 24 2011, 05:17 AM']When it comes to Ahead sticks, the easy way of me explaining them is that they make it harder to play if you're a good drummer. If you lack technique they'd probably help, bit like waterwings. When it comes to the drummer you've mentioned, if he's loud and that's his thing, then all he's doing by using 7A sticks is making things harder for himself[/quote] I'm a drummer and I have to disagree, it's not that simple.. The type of sticks you use have lots of variables, not just weight, length, size, tip and material.. It can still come down to personal taste like some choosing a P bass over a MM or warwick. Use a variety of sticks on gigs and sessions. Even in the last 2 years, I again use very different sticks regularly .. I personally don't like Ahead stick, but I've seen people play very well with them, equally I've seen the same with 7A's seranios.. If the drummer is comfortable, which is most important thing, it doesn't matter.. Judge them by their playing not their gear.. I wouldn't judge Buddy Rich if he would have used ahead type sticks On the teaching front comments you get 3 students: Those who can play with others, but are not great in lessons or theory Those who can play by themselves (pieces in controlled conditions - lessons or at home etc) Those who can do both Also auditions can be a crippler for some.. I still hate them... I never get nervous on big gigs, TV, festivals, sessions.. but playing in a room with drummers or bassists or some auditions.. I can't think of anything worse..

[quote name='thebrig' post='1134112' date='Feb 20 2011, 10:18 AM'][size=2]Just received some cables that Dave (OBBM) made for me. Don't think I will bother making my own now. I'll never be able to make anything as good![/size][/quote] I've made my own cables in the past and they were very good, not blowing my own trumpet (toot, toot).. but OBBM cables are king and very well priced over making your own and as mentioned they are made by pro's not idiots like myself OBBM all the way!!

Yep on the Pro 40Db Inline Attenuator.. It just stays in my TB carry bag for DI I think they have sorted this problem on the new TB though, so unless it's old stock you shouldn't need it. I bought mine 2nd hand, so had to by one. If you keep the bass between 2-2.5 it'll be fine.. I had the same question about my valves in my mind, but I think I'll stick with mine for now, as I've never been short of power on that little monster even with gain at 2

[quote name='Doddy' post='1139852' date='Feb 24 2011, 12:37 PM']You've answered your own question. If a band is prepared 'to travel miles and miles to play a gig (with their gear, which they share) and then not even give them petrol money DESPITE the pub having a decent crowd, selling lots of drinks and making money' then that is why pubs and clubs will continue to do it. If you are unhappy with it,do something about it. Thinkhs are only the way they are because bands make it worse for themselves by accepting this protocol.[/quote] +1 that annoys me too.. people complain about not getting paid enough for gigs yet still do them... When you do this you've just told the promoter not to change.. if bands stopped playing for free they would be calling bands to get them to play and even pay them.. England really do like their covers the opposite to France.. I've been fortunate to be able to play in function bands with friends who I like, who are great players and we have enough say in the set that enjoy what we are playing. I have no problem with tribute bands.. it's just another coverband.. If you like the songs or band, you play them. I think some tribute bands take it too seriously by thinking they are actually the person.. But if they are good, which there are only a few, great.. all the bad ones can be run over by a bus please :-).. I'd love to join a radiohead trubite band, but most radiohead fans wouldn't want to see a tribute act.. I also think you can play the covers YOU want to play to a degree and still get the crowd on their feet, you just have to work harder.. and on the mustang sally comment.. I haven't played that in about 7years (and hated it then). There are a lot of bands out there that do play that Sh*t, I'd have to get paid double to play that :-)

[quote name='BigRedX' post='1137127' date='Feb 22 2011, 02:26 PM']But surely if you don't play full time then you also don't love it enough?[/quote] +1 Ha ha .. I love this response. I've been both FT, PT and 9 to 5 and I think that true fact is that all of us would still play if there was no money in music, but we would not have full-time musicians. Also instruments/gear is expensive, so getting paid for this helps even if you're 9 to 5. Also, I totally disagree on the fact pub would have more music and that would be better for everyone.. the Pub landlord getting extra people through and more money in their pocket by getting a band for free is no different than trying to get a barman to work for 'the love of service drinkers' I back the statement, you pay the waiters, the PA guy.. pay the band!!

[quote name='LawrenceH' post='1137142' date='Feb 22 2011, 02:39 PM']Hardly...the mismatch isn't very significant from the point of view of thermal handling until you really start running hard, probably with a compressor, and you should hear it coming unless you're using distortion anyway. The continuous power handling of those B&C drivers is specced at double the rms rating because music signal is typically less demanding. Whether the cab is loud enough depends what you're asking it to do, sounds like it isn't in this case. To echo what Mr Foxen has said, any thermal cut-off is going to be in the amp, not the cab (with the possible exception of a lightbulb on the tweeter). If you're running the amp hard enough to run it into thermal shutdown then you might endanger your speakers and would probably be best getting a pair of 8ohm 2x10s or a single 4x10.[/quote] I agree on the getting two 2x10's but I'd have to disagree on the mismatch as he said he had everything on full... in a rock setting that's I've done the same thing, the the LM2 and the same 2x10, at moderate levels, it's fine at higher levels, it sounds wierd. The 2x10's won't handle that. My PO is the get two 2x10's, but If you're never gonna get the 4x10 I'd go for the 4ohm if you don;t think you'll ever use another cab with it. The 4x10 at 4ohm does have more umph than the 8ohm 4x10, I think there's a difference good luck

Yep the guy in the shop is an idiot.. That's 500w amp at 4ohms and you've been putting in 500w into 400w handling cab.. not great and at full power I would have personally got the 8ohm cab, then you would get 300w at 8ohms, then you can add another 8ohm cab then use the full 500w between two cabs. Or get a 500W+ handling 4ohm cab (4x10 or 2x12) Technically you can use it, but I'd be careful driving your cab Also did you have the volume and gain at full?? It could have overheated.. If you're riding the gain, the volume, may need to go down.. I'm sure the true tech guys here can give more advice But first of all TURN IT DOWN :-) and maybe return it..

I take each gig/session on its merits.. If I'm playing something I hate.. I'm not doing it unless I'm getting paid If the project is interesting, I have the time and the spare funds, I might do it for free, but only for a certain amount of time. If with some guys I love to play with and we all know there's no funds or just petrol and food money and I'm not travelling for ages, it's very likely I'll do it.. Covers/functions/corporate signed or funded artist gigs - that's work, I want to be paid. No fee, no music Charity gigs - depends.. I do alot for charity, so I have no problem saying no or asking for a reduced fee. It annoys me when the PA guys get full wack and tell people they are doing a charity gig and I don't like the argument on whether it's my day job or not.. I've been a full-time pro and a part-time pro. But I don't think my choices changed when I got asked to do a charity gig. I's personal call. If I was rich, I might think differently about the above, but do [b]sometimes [/b]think the everyday musician has sold themselves short for playing at a pub for 'a couple of drinks'. I've seen pub owners and landlords and music venues start to see bands as a money maker for free. There's not as much respect for the time, effort and money that goes into being a musician. That rubs me up the wrong way with gigs. I think this because the need to play sometimes outways the need for bands.. I could be wrong..

[quote name='eude' post='1136843' date='Feb 22 2011, 10:54 AM']Hey there, the DB Range is designed to give fuller mids than the GS's provide. I love the sound of the GS Range, but they are often described as sounding a bit "scooped" in the mid-range at volume. To my ear, the GS's have a really full low-end, slightly shy mids which can provide a really aggressive tone. The DB, again to my ear, has much more mid punch and a slightly more vintage tone. My experience is based on the 1X12 cabs, but is probably relevant. The DBs do look a lot cooler and are slightly heavier, but sound-wise, for me, I'll be heading back to the GS112(s) as soon as there's money/space/time (delete as appropriate). Just my 2p. Cheers, Eude[/quote] +1 It's all about the mids.. I've tried both, if I was rich I'd have both, but the GS is more scooped as Eude mentioned. In general, by ears lean to the DB's, as I'm getting old :-) and like old sounding things, vintagey, but the GS really nice.. depends on the sound you want.. Both give a good full sound, but I thin the GS is a more modern 2x12 and the Db is more in the mids, but don't think the DB's are wooley by any means, it's still punchy

[quote name='icastle' post='1135493' date='Feb 21 2011, 02:06 PM']Well don't be tempted to go anywhere near that bass with a screwdriver... [/quote] Fingers, cables, tuner and amp only for this boy

[quote name='skankdelvar' post='1135573' date='Feb 21 2011, 03:06 PM']Once you find a sim that works for you, try the following: * Record your bass part clean * Copy the part to an adjacent track making sure they're perfectly aligned * Put the amp sim on the second track * Mute the clean track and fiddle with the amp sim till you get close to a sound you like * Unmute the clean track * Fiddle with the volume balance between the two, applying appropriate EQ, compression etc to each track until it sounds nice. The clean track supplies definition, the sim track adds warmth, etc. After all this fun, you can always send the two tracks to a bus, track folder, whatever, for kick drum ducking, etc.[/quote] That's technialy re-amping, which I know alot of guys do.. it's a great way to play around with your sound.. The straight DI first is the key, alot of people miss that

First Bass Owned: Ibanez SRGR300 'Go To' Bass: Fender US JAZZ roadworn 'Your' Bass: Fender US JAZZ roadworn The funny thing is I spent my life running away from Fender J and P basses only to end up with one ;-)

[quote name='icastle' post='1135464' date='Feb 21 2011, 01:48 PM']It's going to be one of the negative wires causing the problem. If that doesn't work, how about posting a couple of pics of the cavity wiring? [/quote] I think you're right, I'll post one up tonight, but I'll have to work on it another night as I have recording I need to practice for on my working bass ;-)

Right I have completely re wired and used better cables on this bass, and it still hums.. not as bad, but not great. I'm gonna try and check each negative wire that goes to ground now... God help me.. Bass for sale :-)

It depends if I'm recording for demos or pro recordings.. at home - *Sanamp or Terror Bass *Bass DI In studio: * Bass DI * Mic Amp * Sanamp Plug ins are ok, but TBH, most I know more and more people using good basses, with good amps or pre amps If you got yourself a sanamps, you can use it live aswell..

[quote name='nottswarwick' post='718768' date='Jan 20 2010, 10:04 AM']nice one. I like it. Is it a 3 eq SR4? I am after on e of these amps, but it is interesting to note how close the sansamp can get to these tones - the BDDi into my Littlemark 2, on 50/50 blend is mighty close. Thanks for taking the time to do this.[/quote] I'd have to disagree. I love the sansamp and I had LMK2, you do get a nice sound, but the TB tube sound is far better, it's more natural. I'd never sell my sanamp though. I still use it in the studio as another amp sound and when I use other peoples or hired gear... But the sanamp does have more felxiblity in control, but I like a general tone, then I go with that personally.. Top Rate vid.. Much like has been said, shame the big companies don't do this, very easy to get an idea of the bass and nice playing They should use this for orange and scrap this one [url="http://www.youtube.com/watch?v=Rjar21N8-iQ&feature=related"]http://www.youtube.com/watch?v=Rjar21N8-iQ...feature=related[/url]

that's technically a 16x12 :-) Ah.. endorsements.. Think, that might lose on the size issue.. I think the AD200 does though.. I'm sooooo jealous.. well done mate.. I miss touring.. sniff