algmusic

[quote name='EssentialTension' post='903688' date='Jul 24 2010, 12:30 AM']Great, glad you like them. The Trubass are the only Rotosound string I really like, although I've not used them for a while. I've got La Bella Black Nylons on my Squier Jazz.[/quote] I know what you mean, I was hesitant as they were Rotosound, as i'm not keen on the brand from experience, but the tru bass.. very cool

Hi, I tried the Tru Bass Strings.. PERFECT.. nice warm, big warm acoustic style sound style sound. The bigger flat strings was the best choice for the Aerodyne bass and a complete different sound to the other jazz which has a more vintage vibe with balls. I like the idea of the Aerodyne for the Groove old skool, or folky, acoustic style and the relic for the pop, rock, and modern stuff. And I'm getting the Terror Bass on sunday.. Good times

[quote name='chris_b' post='903003' date='Jul 23 2010, 11:33 AM']Most bands destroy Superstition. They play it too fast and like a rock number with the emphasis on the riff. That kills it for me. The secret to making the number groove is getting the drum pattern right then the bass pedalling 4's on the root. Let the notes run into each other. I only play with one drummer who plays the right feel, and when he's on the gig I could play it all night.[/quote] It's funny, maybe I'm getting older and care less.. ;-) I used to hate people playing it too fast. I still do, but I've noticed the studio speed is usually a bit slower than the live, as the 'everyday' joe feels it's too slow, so the MD is saying play it faster, so they can dance in time :-) .. I'love it when it sits back.. I guess, just a muso... and I don't dance :-) Or the classic quote, which, I'm glad a don't hear or haven't heard in a while '[color="#FF0000"]we rock this bit up[/color]', which is aka for I can't play this bit or can be brothered to practice it, so I just play loud over this bit and hopefully the audience won't know.. I like the challenge of new gigs or deps, you sweat alot, but after you've nailed them, it's great feeling. I had a funky function dep, and I hardly knew their tunes, so I practised my ar*e off, an fee great about as I've got more songs under my belt.. (not sure the gig fee weighs up the practice time, but it never has, unless it's regular band/tour etc) That said, did function with a band I've played with for 2 years 2 weeks back its was nice not having to learn loads of tunes and just enjoy the gig

[quote name='ThomBassmonkey' post='900773' date='Jul 21 2010, 10:13 AM']I have to say, I don't really understand why people would EQ differently for different bands (within the same genre at least). In a standard rock band (with only one bass instrument) there should be nothing that interferes with the bass. I play in a band with an accordion (very bassy instruments) and I don't have to change my EQ from my other band (which is a 4 piece, but the flute doesn't really count with bass and most of the keyboard work (4th member alternates between keyboard and flute) doesn't interfere with my basslines as it's usually in the higher range). The key for me is definition, so long as the notes I'm playing can be heard and I'm filling out the bass frequencies, I'm happy. It's my main reason for disliking Ashdowns so much (IMO, of course) they can either be EQd with enough bass to fill the sound and they become muddy, or you can EQ them for definition and they don't have enough bass to fill the sound out. Maybe I've just been lucky that all the guitarists I've played with have known how to EQ themselves (and have had good amps) or they're open to me fiddling with their EQ to get the best out of the overall band sound. But I've played with a couple of people with Mesas (which are very bassy sounding amps) and never had any problems with frequency clashes.[/quote] I kinda know what you mean, but if you're referring to my comment. I mean the overall sound of the band is important. If you're eq-ing an album. In order to get a full sound, you'd eq the bass and guitars/keys differently for a trio,quartet, quintet setup according to the musical space in pitch available, also the sound of the room has alot to do with it, unless you're hooked up to a big PA, then it's the sound guys job, but if you give them too much or too little colour in your sound that has an effect. I did a big festival gig where, I DI out out of a SWR rig.. we did a second set later and the Amp was moved, and I had limited time to move it back before the show (runnner's co*k up), I used my sanpamp straight into the desk, the band and the audience said the bass sounded much better in the second half.. I agree, I hate Ashdown too.. I can't get on with them.. I like a mix of tones, from bright an punchy to warm and growly and I can't get one nice tone out of them

[quote name='algmusic' post='897753' date='Jul 18 2010, 04:05 AM']bloody hell, that's huge!!! I think I might have to try these...[/quote] Just ordered a set via GAK.. only £23!!.. couldn't believe my eyes... the reviews are all heading in this way especially since a want a deeper, warmer almost acoustic bass sound for this bass.. I'll keep you posted

[quote name='essexbasscat' post='852075' date='May 30 2010, 08:09 PM']Hmmm, thought about this one a bit. When at home, I imagine a certain sound for a given number. The ideal sound can vary between numbers, depending on style. However, on the day I like my sound to work in context to my situation. i.e. - Two guitars. Add bottom end so the bass can be 'felt' more, as some guitarists tend to turn up their amps lower frequencies, which of course, can interfere with the bass' mids. -Three peice. More mids, but not excessively so. - More dance n' disco. Bottom end, but with some highs. Perhaps the biggest influence is the sound of the instruments I'm playing with and the acoustics of the room. Having said all that, if a new bass has materialised in my hands, my sound miraculously changes to reveal the best aspects of that bass. Is this why I seem to keep on collecting basses ? If you have found your sound, do you stop buying other stuff ? T[/quote] Probably the best way to work on your sound IMHP. I remember playing in power trio (i was on drums), and the bassist had more mids and we didn't need anymore instruments in the band.. Also the option fro bigger bands is my thinking as well. I like to step back and think of my the whole band as a sound and how I can complement it rather than, just 'doing my thing'. it's all about the music

[quote name='Mr. Foxen' post='899903' date='Jul 20 2010, 12:37 PM']Depends on what you mean by 'handle', and at what rating. Plenty of cabs won't handle 80% of their rated RMS power due to excursion limit at the frequency where cone excursion is at maximum. Exceeding the excursion limit is the bit that will break most bass guitar speakers, because you don't need to do it for a length of time, push the speaker past that limit and its gone.[/quote] Ooow.. Do you mean the whole handling over the RMS.. That's when the cab can handle short burst of power but not continuous, right???

[quote name='Alec' post='899991' date='Jul 20 2010, 01:37 PM']Well, I happily use my TC RH450 head with my Genz Benz STL-10T cab for my home/practice rig. That's a 450W head into a 200W speaker. Obviously, the head won't be kicking out it's full load, as it's only driving 8 ohm. I have no problems with this, but obviously play with a listening ear to any problems and would drop down before they happen. Actually, I've never taken it up to its full load as I've never needed to. And, rather nicely with the RH450, you can throttle the amp back with the "preset volume", which I've done, so I can use more than the first 10% of the master volume control. My, how I love this amp![/quote] Exactly.. if the environment is quite enough.. you're safe, I guess

[quote name='Phil Starr' post='899825' date='Jul 20 2010, 11:11 AM']This is one of the old chestnuts and like most it has a grain of truth in it. Assuming we are talking RMS or EIA watts or something similar the amp is rated on the undistorted sine wave it can produce for a few hours continuously into a stated load. usually nowadays it is rated on sine waves in the form of filtered noise called pink noise which is meant to be like music in its energy content. When an amp distorts the sound waves rise to a peak much more quickly, clip at the amps full power and then drop quickly. This means that on every wave there is more time at full power and the amp has more energy to handle and so does the speaker. The absolute maximum is a Square wave which contains 1.414 (root 2) times the power of a sine wave with the same voltage peak. So a 100W amp with total distortion will give 14oW in the speaker. It won't outpower a 200Wamp though. Speakers are rated differently. What destroys speakers is heat, 100W through a speaker means the coil gets as hot as an old fashioned light bulb. in the old days this melted the glue and the coil unwound, sometimes you even saw charring and smoke from a paper former. The EIA rating of a speaker is the heat it can dissipate for a few hours. It even assumes that the air can circulate freely in the test room and is at 20degrees. There is usually a peak or music figure 2-4 times the EIA rating, if this is done properly this should be the figure where the distortion reaches 10% and becomes audible. If you are playing normally then you have loud bits and quiet bits. The quiet bits let the coil cool down so the speaker can handle a lot more than its rating so long as it isn't distorting. If you play with a 40dB range (no compression) your 500w amp is only putting an average of 5W into the speakers. If you use lots of compression and bass boost/distortion you probably still have a 20dB dynamic range and are only putting an average 50W into the speakers so don't worry about a minor mismatch unless you get lots of distortion. The physics is on your side.[/quote] I love this kind of bravery.. I just can't afford the risk of blowing my amp.. I've only done this once at rehearsal an played very quietly, but I always have the rule of getting a cab that can handle at least about 20% more than the amp, then you can drive the beast how you want... I'm sure you get a better sound.. well IMHP

I was selling an Ampeg 2x12 a about 6months ago it could handle 400@ 4ohms.. a guys turns up with a 1200@2ohms (valve as well).. you can imagine my comments... "if you want to blow the cab... give me the cash first, but you need to change the head or by a cab"

I might be able to help. I have a Markbass Combo mini cmd151 (1x15) that I'm looking to sell to get different amp. It's a 300w @ 8ohms, add another cab and you've got 500w. It's very light and great for that style and very gigging friendly with weight. I guess I'd be look about half-ish the retail price... If you're interested, let me know.

[quote name='fatback' post='898518' date='Jul 19 2010, 12:01 AM']Shuttle vid here shows a fair bit of grit. ll relative, of course [url="http://www.youtube.com/watch?v=SJYX2Fkpuzg"]http://www.youtube.com/watch?v=SJYX2Fkpuzg[/url][/quote] That was the one that put me off :-)

[quote name='andyonbass' post='896809' date='Jul 16 2010, 07:55 PM']I have a Bass terror but I'm really after a cleaner sound. If you haven't already got one, would you consider a trade for your Markbass? Andy[/quote] Pm me. Maybe we can work something out.

[quote name='EssentialTension' post='897183' date='Jul 17 2010, 11:42 AM']Trubass are 65-75-100-115 for the standard 34" scale.[/quote] bloody hell, that's huge!!! I think I might have to try these...

[quote name='redstriper' post='896899' date='Jul 16 2010, 09:29 PM']Roto trubass have a great vintage flatwound sound and feel - they will also look cool on the aero if it's black.[/quote] What size do you use?

Ok guys, Thanks for that. I might try the labbellas as a friend I know has used them and they keep coming up. Might go for 50s this time round

Right I'm definitely getting a terror.. the MB rocker wasn't that gritty.. it just means, I can just carry one amp and no pedals (bar my tuner)

I've turned a warwick player to orange at my rehearsal...good times..

Even though I've been playing for years as a working muso, maybe like most, I've just used 'what my mate had' or the 'previous owner of the bass' or the 'shop' recommended.. must admit, still don#t have much Idea.. I've been lucky with my strings.. When I bought my Fender Jazz Aerodyne, the previous owner said he used flats on them and the bass sounds even warmer and groovier with them on and it worked well.. I asked him to just put standard strings on them, as I knew this would be my only (working) bass as I play all genres and its's varied. last week heavy rock band, this week funk, R&B band, and then a folk/60's vibe band.. now I have a second jazz (us relic), which sounds great with standard wound strings, I'm strongly considering using flats on the Aerodyne... I borrowed a friend's jazz V (active) and he asked me to put his flats on for him when I borrowed it. I rehearsed with it yesterday and it was bloody great for the funky, soul vibe.. so I'm sold on the flats idea for the Aerodyne. I was also thinking of get fatter strings like 55's, so I was thinking 55's flats.. I was told the thicker the string the bigger the tone.. is this right? I play with my fingers and can drive my strings as hard as I can with pick, so I'm not bothered about the extra effort/weight in the strings.. Deep breath... Next question.. a bassist mentioned plastic coated strings.. I'm told they last longer.. but do they sound good.. how do they sound?

I like the fact that you've started with just playing simple things. I did a gig with Winston blissett (I was on drums). What got me thinking about my own bass playing was how he played the simple things so bloody well.. after that I re-learnt every song I've played and just tried to play less, but make that feel great.. that's groove I starting doing the same on drums