51m0n

[quote name='thunderbird13' post='1095082' date='Jan 19 2011, 01:06 PM']Bass Players eh why dont you ask your dad to play [/quote] You can *&^% right off!!!

[quote name='lojo' post='1094292' date='Jan 18 2011, 07:45 PM']This may have been covered before, but whilst on the subject of P or J sound, when both basses where released, surely the the original thudding P bass was closer to the sound of a jazz bass instrument than the Jazz bass was ?[/quote] Well there was a post that linked to a rebuild from the bottom up of a 60's J bass by a complete lune of a luthier recently. It went into a level of detail I've never seen before (rolling your own oil filled caps!), at the end of which he put on the original felt string dampers and played it and it sounded incredibly like a double bass, far more than a P does (to my ears). [url="http://www.tdpri.com/forum/tele-home-depot/169606-1960-jazzbass-build.html"]Here you go[/url]

I thought everyone knew that Bergantino cabs make THE best PA cabs in the world (probably):-

[quote name='theosd' post='1094556' date='Jan 18 2011, 10:22 PM']+1 for Hey Joe, first song I ever played live![/quote] And another +1 from me too - first song I 'learnt', well I got the roots and the 8th note riff down in about 10 minutes, with a lot of help from a friend, and I was completely hooked from that point on....

[quote name='LawrenceH' post='1093221' date='Jan 17 2011, 10:24 PM']But your test wouldn't address this issue because a P and a J are made of the same woods so of course it's going to sound really similar! [b]And the pickups aren't really all that different either...[/b][/quote] Errr, no they are really really different pups and electronics, and in completely different places on the instrument! They 'hear' a different signal with different ratios of harmonics as a result. That means they impart that timbre on the output of the instrumetn regardless of the construction of the instrument. Also when you combine the two J pups they cancel out some midrange, how much is dependant on how far apart the pups are. A P pup cant do that at all... Not to mention the circuit is different, that blend control changes things more than just by allowing you to blend, believe it or not, it imparts its own character (however small) on the output just by being there. I know people who have gone as far as removing the tone control entirely from a P because doing so makes it sound way better to them (and a lot hotter too apparently). The test I suggested was entirely supposed to NOT allow different woods to get in the way of the point I was making, the electronics can make either instrument sound like the other on their own. Ergo any two instrumetns with the same wood will be more affected by the specific pup/electronic combination than anything else (ie the relatively tiny differences in body shape, neck dimensions that you get between a J and a P). The point I was making is that although those things do make a difference the difference the pups/electronics make is far far greater... The wood makes a difference, but it is going to be marginal compared to the pups/electronics.

Gain structure, what it is and how to get it right. How to set up a compressor properly Whoever is paying is the guy who's opinion is right....

To stick my oar in for the OP I think its all about the pickups, their positions and the electronics (yes even on these passive ones). Take a pair of body blanks for a J and pair for a P, all the same wood, plus assorted guff to make bassesd from them. Build one of each with the right pups and electrics in (ie P pup in {P body, J pup in J body). With the second of each blank put the 'wrong' electrics & pup in ( in the righ tplaces for the pups in question). I havent done this, because I'm not that bothered, but I would bet that the J body with the P pup would sound like a P, and vice versa.... The sound you hear is what the pups detect, amplified, which is hugely influenced by their design, and what the amp recieves, which is the sum of the pups and the electronics. They recieve a signal from a vibrating string. How that string vibrates (ie how much energy is retained within the string) is influencd by the design and construction of the bass. But, nowhere near as much as the electronics and pups IMO (assuming any two comparisons are with well put together basses) IMO. Anyone suggesting the wood has a bigger part to play in the amplified sound has been eating the funny mushrooms IMO....

[quote name='silddx' post='1092590' date='Jan 17 2011, 03:11 PM']The techie chat that goes on on this site about various properties of wood, pups, electronics, hardware, amplification, onboard and outboard toneshaping, compression (hello 51m0n ), cable type and length, not forgetting the bloody money we spend on all this sh*t! And this is the best we can come up with [/quote] I dont know whether to laugh or cry Infamy, infamy, they've all got it in for me!!

[quote name='Chris2112' post='1086357' date='Jan 12 2011, 07:25 AM']A great shame because Les and Herb are talented guys (although Les has an awful voice).[/quote] Exactly as awful as Tom Waits perhaps? OR Dylan (come on he's a better singer than Dylan).... I think his voice is brilliant. I can tell its Les singing on the first syllable, thats class!

[quote name='derrenleepoole' post='1085175' date='Jan 11 2011, 09:26 AM']"They call me Mr. Knowitall, I will not compromise. I will not be told what to do, I shall not step aside!" That's what Les thinks of all you none believers Long live Les [/quote] +1 indeed!

Contrived my backside. What are you suggesting, he should stop experimenting and go all X-Factor? Or he should quit because experimenting with music can only last so long before its all been done before in the opinion of faceless trolls on the internet. Oh, and to be clear as soon as you say someting is a POS just because YOU dont dig it, that makes you a troll IMO. He's a legend for a good reason, he's created some truly exceptional (and some less exceptional) music that is outside the normal boundaries, pigeon holes and comfort zones of popular music, and more surprisingly he's made a successful career out of it. Do I detect some sour grapes and jealousy??

[quote name='Plux_the_Duck' post='1084841' date='Jan 10 2011, 09:05 PM']I'd played the real thing live, I'd love to see how this ends up...[/quote] In fact thats the 'real thing' in question in your avatar IIRC isnt it?

At least the setup will be easy, just put it in your shed until the neck bows like a banana then leave it at that!!

Really you want something like an Avalon DI into a big (BIG) power amp into a Barefaced BigOne, but you better be ready for the depth of low end that would chuck out. You cant have it both ways though, you either want flat or punchy (ie not flat). The OP suggest not flat but punchy....

[quote name='Mr. Foxen' post='1084227' date='Jan 10 2011, 02:12 PM']Fairly sure those aren't flat, the use a classic passive valve eq, which is fairly far from flat, as pleasing as that voicing is.[/quote] Now I know what you mean, in that all knobs pointing at noon != flat, however its a very very clean tube preamp IME, and if you set the knobs right you can get pretty close to flat. Certainly flat enough....

I won one of these at the SE Bass Bash raffle Very very nice in yer face overdrive at the very least, up to a pretty badass distortion (not really synthy though). I dont have any clips though I'm afraid....

Barefaced Super12, Bergantino AE212; take your pick. Hartke LH1000 bridged or LH500 if you like. I wouldnt rule out Markbass if I were you though, they are proper loud and sound exceptional to my ears....

[quote name='Legion' post='1080792' date='Jan 7 2011, 10:14 AM']My car has the least practical amount of space ever (old BMW 3 series coupe) but my DB always managed to sit on the passenger seat space with the seat as far back/down as it would go. End pin in the footwell, scroll over the headrest. Worth a try?[/quote] +1 Plux's fits on the passenger seat of my old BMW 3 series too....

Come on the cheap license (if you are making less than $10K per year off it you are eligible) is only £25, thats less than a set of decent strings, and it wont go all dull and pants after 6 months: got to be the best value software out there. Treat yourself mate

Its worth checking out any multitracks of classic recordings you really dig, it all gets put in its place when you hear the wierd noises many classic tracks have going on when the bass is solo'ed in what sounds like a staggeringly perfect take in the final mix.

All the time when I record myself, to the point of going slightly mental

Cabs, whatever floats your boat, consider Bareface (the SuperTwelve is really punchy the BigOne is enormous but requires a fair bit of grunt), if you have the dough then Bergantino are incredible, honestly the best sounding cabs I've ever played through, they'd have to be for me to buy one considering the cost! Before you buy though, get your amp, and try the cab with your amp. A/B against the current rig if possible. Markbass amps are great, the F1 is considered cleaner and 'quicker' than the LMII/sa450 derivatives, ehich are warmer (almost a clean tube warnmth) and just beautiful sounding IMO. You are definitely doing the right thing IMO, of course many will say they have tried this and ending going back to the heavy kit...

[quote name='birdy' post='1065855' date='Dec 21 2010, 04:10 PM']Nothing beats Bergs for me. And I spent a lot of time and money realising that.[/quote] [size=5]+1 [/size](very big one)

[quote name='poptart' post='1065701' date='Dec 21 2010, 02:30 PM']PPS - I tend to talk a lot when I get excited [/quote] Yeah, this sounds like Mark in the best possible way! Happy Christmas chap, hope its a killer time for you.

Wow, weird, doesnt sound anything like the experience I've had with Mark... Wonder whats up?