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[quote name='sk8' post='730293' date='Jan 31 2010, 08:56 AM']Becasue Jim won't do endorsements or the back up required for touring[/quote] Yeah, wouldnt even cut Vic W a deal he could live with (although I expect Hartke put up some serious wedge to get his face i front of their inferior cabs). Doesnt bother me, the less punters who see my Berg gear and think "thats worth a fortune I'll have that when he pops to the bogs" the better

[quote name='Toasted' post='728588' date='Jan 29 2010, 12:31 PM']Quick iPhone snap of mine with my new U5. Sounds good.[/quote] Cwooooar! Thats about it then for you, no need to come on here any more for amps and cabs, all sorted then - right?

[quote name='supabock' post='731521' date='Feb 1 2010, 11:58 AM']Guys, Just a thought, but do you guys play a gig with a specific tone dialled into your bass and then for example do some slap inserts of slap improves/motifs during a track. If you do, how do you work between the tone you have on the bass and a good slap sound without having to stop and dial in a whole new sound on the bass. I find that with my Wal's the playing tone is great but when I put a few subtle slaps in there, I loose the bottom end and the tone can be really harsh.....I have a GT6B and was also wondering if anyone has any dialled in patch settings I could quickly use? Is this the way to go?? Steve[/quote] Its tricky this isnt it! Personally I try and get a sound that can work for both, I'm luck y though, as I dont particularly favour a very mid-scooped slap tone, preferring more mids than most. Also a really well set up high quality compressor can help you here too. I find I like a fingerstyle tone thats pretty much bridge pickup, fingers over the bridge pup and add bass to taste. If I then need a killer slap tone I can get it by just rolling the pup blend toward the middle. If I'm playing a track with the odd pop or slap accent I tend to roll the pup blend halfway back toward the middle (so still a lot of bridge pup in there) and maybe back the bass off a bit. Its a juggling act, and if I'm careful I find it just needs the right generic tone at the get go, generally I try and do as much tone shaping as possible with my fingerstyle plucking position to keep things balanced. The other thing is the potential volume difference, I pluck quite lightly as long as I can hear myself, so I have to be careful not to over do it when I'm slapping, but that is really just a technique and listening thing. I like to set up the comp so I can just hear its there when I'm slapping, but not when I'm playing fingerstyle. Its a hell of a trick when you get it just so, and sounds superb switching from one to the other then.

If you want to stay 410 but you want lighter, then you need to try an ae410 - mine is IMO the best cab I've ever heard, and I include all the barefaced stuff in there (I've had plenty of time with a BF Big One to compare too), and everything else too. If you want to stray away from a 410 then the loudest single cab on the market is almost certainly the Big One (you need some serious wattage to get close to pushing that bad boy as far as it will go). Its a massive sounding thing, very very very deep bottom, tight focused mids, you just wont get the extreme top end zing as there is no tweeter.

They're all great solutions, but I think in all honesty you need to source them and try them. I'd lean toward Berg, cos I like them so much. I have had a really long bash (4 hours with many amps in GAK) on the Epi rig you list, and to be honest its a great sounding rig too.

An intonation

Rough mix of the track I stuck bass on over the weekend, just got it sent over by the drummer. Doesnt help you lot that does it Soz

Anything by TRex

[quote name='Raggy' post='726195' date='Jan 27 2010, 12:05 PM']So I walked into my local music store to buy some plectrums........... And walked out with this!! [attachment=41251:Quatra.jpg][/quote] No mate, sorry, if you pluck the strings with that you're definitely gonna end up with RSI, and probably carpal tunnel too.....

Igor is right on the money. A great example of 11/8 is Eleven by Primus (what a witty title):- Even the bonkers drum intro is in 11/8 Takes a while to get your head around it, but once you do playing this is an absolute blast!

[quote name='Musicman20' post='724777' date='Jan 26 2010, 01:12 AM']Re: AE115 - I saw a few snippits of info on tbass saying this might be happening.[/quote] ooooh linky linky please....

I use all manner of headphone output devices (Digitech BP8 mainly, but laptop too) for practice. I find its fine especially with ome good ear buds (Sennheiser C300 are great), and allows such complete concentration and isolation of bass tone/click tracks etc as to mean I get far more done far quicker than a practice 'over air' with an amp.

15/16 is theoretically as viable as 11/8 or 7/8, but I've never knowingly heard 15/16 (could be cool though! I've certainly heard 11/8 before, a cracking lopsided lope to it

+1 google calanedar. Set up a band calendar, then get display everyone's private calendars in it too if they use google - saves entering everythiong twice!

Bought Rob's TriMod Phaser, super quick transaction, excellent comms, posted very promptly. I'd buy of him again with no worries.

Damned envious of you having that gig Nigel mate, really cracking singer, lovely grooves. I bet you get your funk wig right on with that one!

I use the ER20s too. They are comfy for about an hour tops. I need a break then, even five minutes is enough. To get 'used' to them I try and get them in as early as can at a gig/reheasal, straight in as soon as I'm in the door. That way at a rehearsal my brain has about 10 minutes while everyone gets set up before the volume hits. In that time it readjusts to the nature of the sound a lot, so when we swtart playing it all just sounds pretty much normal to me.

[quote name='iamapirate' post='719201' date='Jan 20 2010, 04:20 PM']iTunes for the win! It solves all musical problems.... don't question me on that.[/quote] Errrr not.....

Thats a cracking sounding rock amp innit, chewy grindy.

[quote name='thisnameistaken' post='717933' date='Jan 19 2010, 03:13 PM']I'm having the four bar bass break in Tommy The Cat. Short, to the point, batshit insane. Ideal.[/quote] I love this too. Best bit is its actually not neary so hard as it sounds to do, and we all like that!

Nothing should be so out of reach that it must never even be attempted, thats daft. However the chances of a really good version of something like Bohemian Rhapsody being produced are pretty small. And to whoever reckoned that no cover is as good as the original Snuff's version of I Think We're Alone Now blows the original Tiffany version away.... Lastly I just dont get the whole Smiths thing, why are they considered SO good? The lyrics are reasonably entertaining, but thats about it, whilst the vocal delivery is at least an aquired taste, the guitar is fine, but not exceptional (it fits nicely with the song and all, but thats what guitar is supposed to do, nothing more, nothing less), and the bass and drums are reasonable but in no way exceptional, any more or less than the guitar. Can anyone explain to me why they are put on this unbelievable pedestal? I'm not just bashing, I honestly cant understand what makes people think they are so good, needless to say they really have never done it for me, and I am just the right age to be one of these odd blokes swooning over Morrisey as if he were the second coming....

HAHAHAHAHAAAAHAHAAAHAHAHAAHAHAAAAAAAAAHAA......... What do you mean its not a joke? urrrrhhh... .. . . .. oh

When you get a long way from the cab you arent hearing the cab any more, you are hearing the cab + the venue. Its very very different from the cab, I couldnt agree more, but its different in every venue. Its also different in a single venue dependant on the number of punters, in fact its even different dependant on the ambient temperature in the room, and whether or not the curtains are closed over the windows. Lets not go into how your perception can change even as a result of how much water you've drunk through the day, or even your mood. But it all has a real effect. You cannot control those factors, you can intelligently bias your sound to help cope in each individual situation. As for speakers being broken in, a couple of gigs wont complete that process IME, 5 to 10 should though. As for 'fitting in with the band', well thats the rub isnt it, I've spent 20 years sound engineering live and in the studio. I understand frequency mxing, eq, compression, etc. All of this is very relevant to letting me figure out if a cab will 'work' with a given bass/amp player/style etc. In fact my entire set of tone goals (to use KJungs excellent phrase) is based upon being heard in a band setting clearly. IME too much bass live is a nightmare situation, those dub guys can keep it, its a hellish thing to do well, and most venues cant deal with it. So I dont go there. Given that experience with mixing I can make a very very educated guess whether or not a cab's inherent tone is likely to work for me. I cant tell if it will work for you necessarily, but I can get close. The problem for a lot of us though, I think, is that what really works live, is not what we are used to hearing on a recording, and so many people are disappointed. So I stick with what I said above, an experienced ear can tell if a cab will function in a gig situation if they can get to spend some quality time at serious volume with it. No problem. An experienced bassist/sound engineer can tell if an amp/cab combo is tweakable enough to cope with the vagueries of live sound to maximise the likelihood of always getting the best tone possible in a situation. No one at all can tell from one or two gigs if an amp/cab will always work everywhere. But I'll let you into a secret, NO amp/cab will sound great absolutely everywhere. Some venues are so acoustically shot that you are at best on a damage limitation course, at worst you may as well not be there, just smile and mime. Fortunately those are very rare occurancies IME (only twice I can think of in 20 years for me, both at the same venue).

When I went to find out what Berg rig would be 'the one' to bass direct, Mark positively encouraged me to try and cause structural damage to the place. It was staggeringly loud, and sounded completely unstrained, by which I mean the sound at high volume was not tonally very different from the sound at sensible volumes, I just couldnt hear myself talking/shouting so well. That, to me is very indicative of whether or ot a rig will 'work' in a gig. To be honest he's moved premises since, so I dont know if he'd let people go quite so crazy now, I mean this was an hour of really unrelenting bashing of the cab I eventually took home with me. Enough to be as confident as I could possibly be. All this talk of trying on the gig is all very well, but to be honest IME every gig venue presents its own set of issues and problems (for which there are well known strategies to help you deal), so trying on a single gig is no better than trying in a shop that will let you really have a bash at the gear at real world gig volume plus some more. I need to hear a cab and amp not farting out at those volumes for a gig length of time, with all the stupid and weird techniques and sounds I might want to make. I need it to produce the same tone (within reason, things change at volume) at volume as it does ticking over. Otherwise its only good for either gigs or practice not both, and recording with it can be a pain. I also need to really like that tone (well duh). Lastly I need to have confidence in the build quality/manufacture's after sales. I very nearly went with Schroeder cabs, but I wanted something that was more than just an easy to hear on the gig solution to volume wars, achieved by building into the cab a prominent mid peak that I can get close enough to with eq should I need to. I wanted something that sounded right at all volumes. For me it was Berg all the way, and unusually on here it was a 410 rather than the also brilliant 2x210 solution. Without going and trying it though, you cant make a decision. Worse still the human brain/ear combo is a funny old beast and nothing short of a real world A/B in a single place can really be a fair comparison, travelling the length of the country to try one then the other isnt a fair comaprison. I'd record them with my Zoom H4 and go away and have a good listen back to back if it was me (same amp settings, distance from cab etc, similar sized & shaped room, not to mention amp positioning all required to make it useful of course). Its tough buying quality cabs!

foobar2000 can do conversions from to anything - it front ends Lame for mp3s really nicely.... Although being a coder I too prefer CLI lame (really nice to drive it with a simple bash script to do the same as the aforementioned)