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mcgraham

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Everything posted by mcgraham

  1. mcgraham
    Thanks for that Warwickhunt. Unfortunately I've never even heard of anyone using Glock amps other than your good self, so may be a bit difficult to try. As I say above, I will keep fiddling with it in the meantime, as I hate rapid gear hopping. Mark
  2. mcgraham
    I'm really glad to hear the Clarus is working for you bud! Despite the above issue I know I've moved forward in the right direction. I definitely want to give it another shot at a practice and gig when I've got some time to fiddle in the mix. If I can get a medium between the Clarus and the TF I'll be very happy, as I moved away from the Clarus to get some bass extension. I just need to improve the clean-ness a teeeeeny bit. I'm sure if I explore the controls I'll be able to find out how to accomplish that. Alex, can you perhaps explain to me what the difference would be between setting the gain on your amp to max and setting the volume control to achieve a given perceived sound level, and setting the gain lower (say half?) and then setting the volume control to achieve the [i]same[/i] perceived sound level as in the first scenario? Mark
  3. mcgraham
    I did indeed try your rig Alex. It was a truly awesome rig. A shining example of simplicity creating elegance. The 'L' series of Schroeder cabs are not quite as mid humped as the 'R' series. Whilst not as true/flat as PA cabs, it isn't too far off. However, your point about the added bass extension is more than likely true. I'm going to suggest that the Schroeder is not so great at reproducing the low end response/frequencies that the TF outputs, hence the perceived lack of clarity of the amplified sound. Mark
  4. mcgraham
    Did you find that the Mesa was cleaner than the PJB? I always felt like the PJB had boatloads of punch and definition. I'm curious Alex, you say that decent power amp sections vary little in tone. Now that I think about it, the Clarus had a very similar sound (I can't say identical because I'm not doing an A vs B comparison) with the eq bypassed... interesting! Perhaps I'd be better off going for a power/pre combination. That way I'm more likely to be able to get the sound I'm after. Mark
  5. mcgraham
    I actually got to try an Epifani Quest II preamp, which I believe is the same as in the UL502/902. I found that it had great punch, definition, articulation yet balanced with warmth, but it was that same warmth that turned me off as I couldn't dial that quality out in any quantity. Lozbass (who lent it to me for a trial; I believe you sold it to him?) also agreed that this was an innate quality of the preamp. Thanks for the suggestion, but I'm not sure it's for me. Mark
  6. mcgraham
    I bypassed the preamp this evening, which helped some, but it's 'base tone' still had the qualities I described above. Note: it isn't unclean [i]per se[/i], but the added warmth over the previous amp (perhaps this makes a poor comparison) even when set flat seems to mask the clean-ness... if that makes sense. Mark
  7. mcgraham
    Hi there I recently traded my Clarus (Class D) for a Thunderfunk 550A (Class A/. I am finding that the TF bolsters the low end extension of my sound (over the Clarus) and sounds fuller, however in a mix it lacks the super clean-ness that I prefer (read: crave). I am assigning this to the fact it is A/B and not D, (particularly as the TF is designed to be solid state and clean, with a hint of warmth more akin to tubes). Anyone agree/disagree/care to comment on this? Also, I need to rectify this situation by obtaining a super clean amp alternative (not Acoustic Image, the eq didn't match well to my cab). Thoughts? Suggestions? Mark
  8. mcgraham
    To be honest, I'm struggling to see what the debate is about... but in the spirit of the thread. 95% of audiences, and 95% of people in audiences, are not there to intently listen to the music being performed in the way that the creativity that we are discussing actually matters. At most events all over the world, music is a background thing, i.e. the audience are there for another reason, and the music is serving that reason; e.g. dancing, background music at a pub, atmospheric chillouts, muzaq, to set a mood in shops etc. If you pull out a stonkingly massive bass fill, one of two things will happen: they will notice and be distracted from the reason they are there (not always bad); or - they don't notice, therefore nothing changes. If they [i]do[/i] notice, you may have completely broken the mood for them; on the other hand they may love you for it. Sadly (and here's the kicker) the minimum of what constitutes a stonkingly massive bass (or any other instrument!) fill in most people's eyes is utter dung, or at least boringly mediocre, in the eyes of someone who truly appreciates music. I know what my point is but I'm finding it to be hard to get into words... In short, I think the reality is, that the creativity that some of us have been yearning for in this thread, is received no differently by the masses than the regurgitated slop we are abhorring, if it is received at all... and the masses are who ultimately choose to pay us for our work (I steer clear of the word art at this point ). Does that make sense? Mark
  9. mcgraham
    Did the Schroeder impress you then? Mark
  10. mcgraham
    Fair comment! Tone definitely is what we're after first and foremost. However I would disagree with your inference that the inconsistency in tone of the students you've seen is due to using/them beginning to use floating thumb. When you anchor in any form, there is greater rigidity in the plucking hand than in ideal floating thumb. Therefore, any 'recoil' that you may incur from your plucks is mitigated to a much greater extent than if you are using floating thumb. This ultimately forces people to play lighter than if anchored (a good thing). What this [i]also[/i] does is highlight and identify inconsistencies in the mechanics of plucking, i.e. plucking harder with one finger than another. In short, those who switch to floating thumb from their previous anchoring habits are inevitably going to see problems with their consistency of note and tone. It is not just the plucking mechanism that has changed, but how your entire hand/plucking structure responds [i]after[/i] each note has been plucked, which ultimately affects the next note to be played. Those who start off/start very early with floating thumb may find it unusual to have to support their arm from the shoulder, but will not suffer the same difficulties as those who switch later. Again, all IMO and IME. Mark
  11. mcgraham
    [quote]I need to stop looking in the for sale forums![/quote] Yes. Yes you do. Mark
  12. mcgraham
    Thanks for the suggestions guys, I greatly appreciate it. It's nice to find something completely new (at least to my ears, and from what you've said, most western ears). Also Bilbo, thanks for the stuff you sent over. Really gets my toe tapping. Also, the melody and harmonies on Donde Se Ferona are reeeeally original! Love it! Will drop you a message later today! Mark
  13. mcgraham
    I traded it with BassBod for his Thunderfunk. I was looking to raise some capital to go towards Flanker's LMII, but as you have seen, the second hand market has been somewhat slow recently. I therefore opted for a trade, that may yield better options as well as giving me the chance to try out a new/different piece of gear. Now, I put it at that price because: I thought it was fair; it allowed me to have somewhere to back down to should interest be poor, so as to get back what I paid for it; and ultimately because prices for gear have gone up. Others have stated that the price is/was fair. I will acknowledge that, having paid slightly less, to put it at that price may have been cheekily hopeful. Considering the above, I do not believe that I was being unreasonable or unfair, nor was I closed to offers/negotations. I feel I was within my rights and entirely justified to advertise it as I did. I apologise if you feel wronged, hard done by, or otherwise. This was not my intent. However, I do not feel that these actions warranted your response. If you did not feel the above was reasonable or fair, or you felt that I was in the wrong, a personal, discrete message to discuss it or at least voice your concern would have been much appropriate and better received, rather than posting the issue publicly on this thread. I am actually quite upset that you felt it would be better to make/take this public, as this brings my reputation into dispute, albeit online. As it happens, there has not been a sale, only a mutual exchange of goods, so you can rest easy there. Despite this, I feel I have had my reputation soiled, as not all will take my viewpoint on this. Again, please accept my apologies if I have/for having offended you. Please also understand I am not angry at you, and I hope I have not come across as such. Mark
  14. mcgraham
    I'm honestly surprised this has not gone yet. I've been sorely tempted to purchase one since joining BC as they appear to be the epitome of functionality. Powerful, compact, lightweight. How much more can you ask for? Best of luck moving it on Dood! Mark P.S. Hows the Sansamp working out for you?
  15. mcgraham
    Bump for a great great cab at a very fair price. This particular model was what sold me on Schroeder cabs. If you are looking for extreme cutting power in a band with real punch, this cab is what you're looking for! Couple it with a tube head and you have got a seriously awesome sounding rig. Mark
  16. mcgraham
    That's really quite fascinating! I think I'll be making lots of musical genre [i]faux pas[/i] identifying what is what until I get into some actual artists/pieces. Mark
  17. mcgraham
    That's a very good and sensible plan, if you don't mind me saying! Another free bump for you... you've had a lot of them from me! Mark
  18. mcgraham
    I've recently found out that I have a few latin pieces on my iPod from various sources that I had not previously listened to. By latin I do [i][u][b]NOT[/b][/u][/i] mean Ricky Martin... It is not a genre I really know anything about, but I'd like to hear more! Do any of you have any recommendations of latin artists/songs/albums I should/could listen to? Mark
  19. mcgraham
    Pray tell, is there perhaps an ulterior motive behind this thread? Mark
  20. mcgraham
    You really are assuming that they are out of stock because they are in demand. Remember that shops don't re-order stuff that people don't buy/takes them a while to shift. Mark
  21. mcgraham
    It's your call buddy! My opinion is above Mark
  22. mcgraham
    I too have been curious about Dingwalls. Eventually I managed to get to the gallery and have a go on some. The aesthetic disruption of angled frets wasn't a problem! But the way they played was not worthy of their price bracket, IMO. They played well, but nothing special. Again IMO. Mark
  23. mcgraham
    [quote]I've played a couple and the all maple bodies mean the basses sound very bright with a very tight and compressed low end. They feel nice for slapping but I'd really need a warm rig like an SWR to get the best out of them. If I'm paying that kind of money, I'd expect more versatility tonally. You could probably get a very similar sound from a Pedulla MVP if you swap out the pickups for super clean sounding models like EMG, Rough Crystal or Alembic plus an East preamp. There again, with that insanely beautiful wood it seems almost a shame to take them off the wall hanger.[/quote] That makes sense about the maple bodies. Although oddly enough, the maple bodied Smith I had wasn't particularly bright, it actually had quite a muted top end. I misread what you typed there. I thought you'd intimated you could improve the sound of a Ritter by replacing the pickups. Which would seem ludicrous considering how much you would have spent on the bass Though you could argue if you've spent that much, what would another couple of hundred matter Mark
  24. mcgraham
    [quote]Mark, I think you've described Matts sound perfectly.[/quote] It's good to know I'm not the only one who hears it the same way! Re: Matt's expressiveness, I completely agree about the way he makes his phrases flow. Very smooth (when he wants them to be), and very different to the way that bassists tend to, and have tended to play in the past. I particularly like how effortless his slurs are, and how subtle he makes them. I am the opinion that the smaller frets help make them less of a separate entity in the/his sound, and more a subtle and welcome contribution to his overall playing. Mark
  25. mcgraham
    Yes the market is a bit slow at present. If I was selling, I personally wouldn't take less than 700-750 for it. But with the market being what it is, and if you really need the cash, I could understand a potential price drop (not that I'm advising this!). Mark
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