Mr. Foxen

It is probably a known thing, but do you recall what the finish the bass came with was called? I'd imagine its an oil/wax sort of thing, finding that and doing it again is going to be the way, oil and wax are pretty easy skill wise, just time consuming.

Pretty much going about it all the wrong way. Isn't an EQ issue, if you have a sub, you should be using a crossover and a beefy power amp. Anything specifically for guitar/bass is going to be made for broader range stuff and thus be a waste used into a sub.

But bear in mind there are several sizes of hole. Ran across that issue when assembling Shockwave's antigua bass, Hipshot were pretty unhelpful on the matter: [url="http://ampstack.wordpress.com/2011/10/30/shimming-undersized-machine-head-bushings/"]http://ampstack.word...-head-bushings/[/url] Edit: Note best shim material in the world. shame about the beer.

Matamp are pretty much a different league to Sunn quality wise mind. Check link in sig, as I have a ton of amps that are suitable for these things, some of which can sell, but mostly to give you a general idea of what can work for the purpose.

[quote name='chrismuzz' timestamp='1334594936' post='1618234'] Pedalwise, youve had the best advice possible already! If you want floor shaking lows, a cab with front ports coupled with the floor will be the way to go! [/quote] Hmm, port location makes no odds (unless you block it with the wall), as port output will couple with the floor from anywhere, due to large wavelengths involved. The floor can sort of act like an extension or the duct in some circumstances.

[quote name='vinbob' timestamp='1334518857' post='1617174'] Thanks for all the advice. The marshall's were suggested by a friend. [/quote] Friend that is a guitarist with bad/cheesy tone by any chance?

[quote name='1970' timestamp='1334584322' post='1617996'] yes true, they tend to be overpriced. but they definitely do the sound well. [/quote] Bear in mind the 300T is pretty much unrelated to the Sunn stuff of classic fame. Good amp, but fiddly pre, not crude filth monster.

you can book me for gigs. Actually I'm totally short on cabs to do stuff like that. For ridiculous numbers of amps and SPL (and total lack of musicality), check out Pombagira, they seem to gig quite a lot. They basically push the loads of amps envelope, I've never used more than two at once since I need some definition as I try and actually play a bit of a tune.

Getting it out of a pedal isn't the challenge. Getting sub out of your cab is a whole other matter though.

[quote name='Johnston' timestamp='1334574507' post='1617745'] BUT Bigger firms like Shine, Rockinbetter, Dillion in Canada somehow manage to carry on regardless. If JH had any real teeth how come they still continue? How come he hasn't followed through with the threats he dishes out to smaller firms and private sellers and wiped out these mass producing companies. [/quote] Problem is probably being in Europe vs. not, since there is retarded amounts of legislation where the EU sucks up to the US regarding homogenising copyright law, the not clear cut mentioned earlier will be the fact this bloated sort of legislation needs to be tested in the higher courts before you can even consider a definitive answer as some sort of precedent needs to be set. Ideal thing to do is everyone have a rickenfaker for sale on your personal website, fairly low key but there, and should Mr Hall try and claim he has pursued his copyright with regards to individual sellers aggressively later, we can cite all of them of examples that he hasn't, and has instead lazily gone to various bigger players like ebay and basschat and demanded they do his job for him. Also stop using Ricks, they really aren't very well made. [quote name='Johnston' timestamp='1334577147' post='1617815'] you thinking of having some built too [/quote] If anyone is on this, pm me, I'm interested.

There are tons of British amps that will do it. If you want cranked sounds, you need an amp that can be cranked, the stuff you have named is mass produced American stuff that is made to be clean and cheap, which will tend it towards exploding when pushed hard enough to really filth up. I'm into loud cab and not so powerful heads for the purpose at current, 200w valve head is the biggest I sue and that is still pretty clean at audience backing away from stage volume, I dual amp and my cranked filth amp is 70w on the outside (two KT77), mildly grindy lows amp is twice that. But I have loud cabs, a Barefaced super 15 and a 4x12 guitar cab. The ideal thing to buy is the Hiwatt bass 100 that Umph has going. That's sort of tempting me, but I have over 30 heads at the last count, and nearly got to the point where most are working.

That metal is pretty funny stuff, that one was rigid, I think it just flows really slowly. Giveaway is Rickenbacker spent a while with two extra holes and screws to stop it happening, but people complained it spoiled the look in an effort to prove style over substance.

What makes you think the bridge isn't suppose to be flat to the body? CMI are a bit mysterious, even Marshall who were behind them don't know where they were made. Bridge not touching at the back probably isn't a 'feature': [IMG]http://i17.photobucket.com/albums/b69/Incarante/Rickenfaker/P1010837.jpg[/IMG]

All looks exactly like my CMI, except mine was crudely sprayed black after power sanding off the varnish on the natural maple original finish. Edit: Actually, are the saddles chromed? They weren't on mine, but the replacement rickenfaker bridge was.

As soon as you hook anything up to a sub, power becomes about the only relevant factor, because subs don't make 'tone', as thats all in the mids, they just make lows, which need power.

Sub renders a guitar head a bit pointless. Use a power amp to drive that. Ideal scenario is a crossover putting highs and mids to guitar amp/rig and the lows to the sub + power amp, then you have it all.

Wondering if they are an attempt at making a 1/4 wave resonator over a wider bandwidth, kind of like people who get the basic idea of a ported cab, but try and get two tunings from two different ports. Theory being the bigger wave won't see the smaller part of the slot and thus act like a longer tube. do they jsut act like a pipe with a flat end of some intermediate length? or is it something else entirely?

ancient thread resurrection, but I have a question and don't want the same ground gone over, 'cause I've read the thread. If I wanted to model a Karlson cab, could I use Winisd with the chamber both sides of the speaker model, or it it a whole other thing? And the the tapered slot in the front important to be that shape, or is it decorative? And is teh familair shape a way of making this sort of thing out of flat bits, or are they a different thing entirely? [IMG]http://img479.imageshack.us/img479/7890/thick17ky.jpg[/IMG]

Ha, I think I saw one of the new ones on ebay and was going to post in Rickenfakers 'cause of the dark neck, but it had all its certificates and such.

[quote name='silddx' timestamp='1334409902' post='1615842'] But please, don't be giving it large with that sh*t about insulting audiences by using modelling rigs, or that they sound inferior to the 'real' thing, because that is just ignorant and misguided. Cheers. [/quote] The important part is I was saying 'my audience', vs. telling people about their own audience, as in 'your audience won't know the difference', I know my audience, personally for the most part, they can tell. I've been saying loads of time: more to it than sound. Your audience doesn't come for your rig, mine does, if I went without rig, it is equivalent to you going without sitar player, I just used you as an example because I have that information to hand. This is what I mean by not all gigs are the same.

[quote name='charic' timestamp='1334406728' post='1615765'] Although if someone released an amp that could sound exactly like a mesa, engl, marshall and orange amp (randomly picked off the top of my head, insert your top fave amps here ). It would almost certainly fly off the shelf. [/quote] Problem with that it relies on you having a really common favourite amp, and wanting to sound the same as everyone else.

[quote name='charic' timestamp='1334404575' post='1615723'] A "better" mic purely means picking up more frequencies and flatter. IIRC (I can't be bothered to go back and check), the engineer even said she wouldn't sound as good although this is more than likely because it is much harder to dial in frequencies that are not there rather than cut frequencies that are. All 5imons statement was saying is that a 58 would suit her voice well from his experience. [/quote] Microphones is a whole other tone thing, Another transducer with accompanying limitations, which you work with, hence recording engineers having a collection of mics, the more you can use the limitations to your advantage when recording, the less post recording manipulation you have to do, which is the boring and expensive bit. Mostly "better" = more suited to the situation, which flat response may not be.

[quote name='silddx' timestamp='1334399276' post='1615613'] Because the gear for Foxen's band is more important than the music? [/quote] It is the music. It is all one thing. This is that disconnected thing people use as a criticism of digital gear. You are thinking or your equipment as an obstacle not a means of expression. [quote name='Beer of the Bass' timestamp='1334400740' post='1615639'] I've not seen Mr F's band, but I get the impression that the stacks of mismatched and obscure old valve gear favoured by the Doom lot are kind of like an art installation in themselves. So their presence is part of the performance, even if it might be possible to create that sound by other means. There's nothing wrong with that, it's just a different approach from many other performances. [/quote] Dunno what you mean by mismatched. But the dynamic sound field (as in sound changes as you move, and the dynamic of the instrument is also dependent on the position of the player) presented by multi amp and speaker setups is very much part of the live experience both as a listener and a player. Obviously some are happy to pile up tons of amps and be good to go, but a bunch of time spending soundcheck wandering about an finding the places where feedback happens and doesn't is something I find a necessity. Sunn O))) have an 8 hour sound check for the purpose. also, the smell of hot valves is a commented feature, which can't be simulated, although I keep my amps very clean for reliability, so they don't tend to smell as much as I do at a gig. I think it is silddx in the band with the sitar player? I have got the impression, possibly mistaken, that she and her instrument are the main focus of the music. Going without real amps would be like maybe her rocking a variax on sitar setting, or one of those electric sitars, or maybe being a recording.

Because they aren't stupid, and didn't come to my gig to have their intelligence insulted. Maybe its a theme of my somewhat specialist genre, not having contempt for your audience.