paul_5

Isn't this a case of "monkey see, monkey do"? After all, what do the folks who work in the music shop do as soon as they take down a bass? (apologies in advance to Pete Academy, I doubt that this applies to you).

I forgot to do this a while ago, so here goes. I bought two bass books from Mike and they were exactly as described and arrived really quickly. Great comms and a lovely guy to deal with. I think he's still got some books left, so buy with confidence before I go back for more.

I had the LH1000 for a while and thought that it was indeed a lot of amp for the money. The DI is clean, the tube is a huge plus (and easy to change if you're that way inclined) - I thought mine sounded a bit [i]too[/i] modern/toppy, so I stuck a Tungsol 12AX7 in there and it warmed it up a treat. Dead simple fix for £15. The built in limiter is really useful too - really transparent but effective, and the bright switch certainly doesn't lie - that bad boy will strip paint. On the downside the amps have a scooped sound by default. With everything set to 12 o' clock there is a modern, 'smiley' sound to the amp, and having done some research into this I found out that the mid control controls the 'cut' of the mids - it's impossible to boost them on an LH series. Of course if you're running a sansamp/MXR 80 in the chain then that's not an issue, and to be honest that's the only negative thing about these amps. The fans run quietly and they'll take anything you can throw at them. Ultimately I missed my Ampeg too much, so moved mine on, but they're a real workhorse and certainly aren't lacking in punch. Hope this helps.

I'm something of a gentleman in this respect - in that I [i]can[/i] slap, but seldom do. I agree with the posts regarding playing it slow; how else do you know if there are any dead-spots if you don't let the notes sustain? Also a huge +1 for plying a bass acoustically without an amp when you first pick it up. You need to know that the instrument plays properly before being seduced by what it sounds like.

4 slice toasters that are split into 2 2-slice toasters. I want 4 slices damnit, and I don't want to muck about pushing down 2 levers and setting 2 dials to [i]exactly[/i] identical settings. Mumblemumblemumble.... come the revolution etc...

Pull up a seat and grab a large brandy, welcome to the club.

Makes me want to do a big poo - just so I've got something to cover my eyes with. It's very "care in the community" isn't it?

[quote name='Legion' post='1315529' date='Jul 25 2011, 11:02 AM']To date I've tried these flats; Sadowskys, Chromes, TI's, Roto's, Pyramid, Lakland JO, Picato, Status Hot wires, D'addario Nylons, Roto Trubass. The sadowsky strings are very good, and contrary to what I've read, mine mellowed considerably and have found a permanent place on my fretless. I actually bought another pack of sadowsky flats (which are now out of stock again) whilst over there with the intention of putting them on my decade...but I might try some Chromes on it first as they have that really dry unique sound that might work well with a decade. I was about to sell off a few of the sets I've been trying out..send me a PM if you fancy experimenting.[/quote] Hi, I've just read your post about flats. So far I've tried Rotos and Ernie Balls, and they're [i]OK[/i] but nothing special. Do you have any chromes I could buy from you and try? My preferred gauge is .45, but I'm not really that fussy. I'm playing through Ampeg gear, and might need a little more 'zing' to cut through the wooliness a bit. I'm quite happy to take advice on this matter - if you don't think that chromes would do it then by all means suggest something that you reckon would fit the bill. Cheers, Paul.

[quote name='LiamPodmore' post='1314374' date='Jul 24 2011, 12:27 AM'] This isnt actually my rig (Not fully anyway) but my Warwick ProFet 5.1 through an Ampeg 810 that i used tonight. Best sound i've EVER had playing live, makes me want an 810, but i can't afford nor have the space or need for one, so i may have to wait. Liam[/quote] Where was the gig, HW Audio? looks like a music shop in there. Here's my current head: [attachment=85673:25052011076.jpg] Going into a Hartke Hydrive 410. Nice and loud with enough detail where it counts.

The 'bore has got its own sound that it does really well. If you don't mind it imposing that on your bass then I'd say "go for it". What's the worst that can happen?

The switch would be the obvious place to start. If it's a Russian one that's been modded I seem to remember that this particular pedal needs +ve centre supply as opposed to the usual Boss -ve centre. Either way banging it around won't help. What would Chris Wolstenholme do? Hmm?

still waiting for them to replace a 4u flight case that they smashed for me. I mean, how hard is it to pick something up and then put it down again in a different place without snapping bits off?

I laughed out loud at the Scott Ian bits, a class piece of broadcasting. We need 'Anvil' and 'Spinal Tap' next...

Cheers for that, turning over now.

Niiiiiiiiiiiiiice? Nooooooooo. That is all.

Not even looked at it. Haven't renewed my subscription. I'm spending the money on bass books instead, I reckon I'll get more out of them.

[quote name='Jondeeman' post='1310085' date='Jul 20 2011, 10:54 AM']No it's not, but it's a bl**dy good place to start. Getting used to the techniques and technical requirements before introducing self-expression is key to learning successfully (a bit like playing).[/quote] Fair do's, jumped the grumpy gun there a bit. sorry 'bout dat.

everything pre-drilled and solderless? it's hardly "expressing yourself by building your own bass" is it, a bit like the Wright brothers playing with Airfix kits. It looks like all you're doing is building someone else's bass....

I dabble with the guitar, don't know many orthodox 'chord shapes', which is handy as I don't write orthodox music. I know what sound I've got in my head (when the voices are quiet) and shoot for that. My ears tell me how close I am. Most of my stuff starts with a riff in my head which I play on the bass and notate in Sibelius. Form then I keep adding/subtracting parts until I find some thing that works. It takes a while to actually finish a piece, but I 'm always really happy with the results. Also handy is the way that Sibelius tabs stuff out (makes for really speedy sessions with the guitarist, as it's quicker for him to work out my "spaz chords" as he calls them). We can record 4 pieces a day from scratch. I realise that this ain't the way forward for everyone, but it works for me. FWIW if you're learning another instrument I'd probably recommend the piano/keyboard as it makes theory SOOOO much easier to understand.

EBS octabass does better than an OC2 - they're the only two I've ever had.