51m0n

+1 for a Brighton Bass Bash ....provided it doesnt have to become some kind of gay love in, Alex

Oh yes! Thats so sweet. Bet it sounds about 200x bigger than it looks Be prepared for many guitarist and drummer types to look at that with an "As if..." look followed by a "Holy dog gibblets " look Enjoy!

[quote name='Stewart' post='509180' date='Jun 9 2009, 04:10 PM']Distinctly overcast... Warm though [/quote] +1 sweatier than Baldrick's B&*%$*x!

[quote name='alexclaber' post='509191' date='Jun 9 2009, 04:21 PM']BSSM is the only album I've learnt from start to finish. I'd only been playing a few months when I started to attempt it and talk about teaching you a lot! I always remember Mellowship Slinky seeming impossibly hard. An album full of bass gems! I'm really big into the chordal thing - works well with our bass/guitar/sax/drums line-up and gives the music a totally different vibe and colour. Am writing a song at the moment where I'm playing three note chords and then just picking out one note from each chord to outline a counterpoint melody as the chords change. Also gives you that hip hop trick of making you appreciate the bass when it goes back to its traditional function - take the bass away and it's so much heavier when it returns. Alex[/quote] In an funk band I used to be in I did a lot of that, with a touch of tubey grind and a tremelo - sounded like a passable hammond live - great fun

[quote name='dave_bass5' post='509117' date='Jun 9 2009, 03:13 PM']Ok, point taken but i still think there would be more mention of this, especially over on TB if it was the case with these heads. Actually (going slightly OT) ive just ordered a rack bag for my SA450 and have been a bit worried about the lack of ventilation once its in the rack but im pretty sure its going to be fine. I tend ot keep most of the EQ pretty much at 12 o'clock. My SA450 still gets warm at most gigs though and thats just sitting on the cab out of its bag.[/quote] My sa450 was in a gator 2u shallow rack for a long time, never got more than the very back of it warm. Even then its getting warm was a lot cooler than a normal (ie not switching ) power supply driven amp IMO. Now its in a 4u shallow gator with a dtr2000 tuner (which is unsurprisingly cold) and a focusrite compounder. The compounder gets really properly warm to the touch, a lot more so than the sa450.... Certainly the coolest amps I've ever used on a gig (in all respects) But ventilation is still key!

Well maybe not that exciting but very very very not good. Not to mention not allowing your amp to do the right thing by your tone....

[size=7][color="#FF0000"]BANG!!!![/color][/size]

If memory servers there is no switch internally, its a little more convoluted, but search on talkbass for the answer (thats where I saw the question posed) The amp is the same in the combos but again IIRC the combo version casing doesnt have a lid, so if you whip it out you will expose its innards to the beer swilling morons.....

All of Mothers Milk and BSSM All of the earlier albums in reverse chronolgy At this point you dont need to learn any more Chilis, go write your own

[quote name='dangee' post='509019' date='Jun 9 2009, 01:51 PM']Thanks for the advice...as the issue only happened after about 2 hours of playing at gigging volume, the wife will be well-chuffed with my forthcoming investigative work![/quote] Was it a very hot gig? Did the amp have sufficient airflow? MB stuff typically runs very cool IME, I have never even got my sa450 warm to the touch, but if you were in a confined space playing very loudly for a very long time it is conceivable - however unlikely - that with a restricted airflow the thermal shut down kicked in..... Just a thought.

[quote name='dlloyd' post='508955' date='Jun 9 2009, 12:38 PM'] The main reason I ask is that I get no discernable difference in the thumbed notes when I play fretless. Popped notes are a different matter![/quote] Really? I do, very obvious the fretless just doesnt have the brightness from the string hitting the fret, back in the day you used to get the odd fretless bass with a brass slap plate at the end of the neck, partly to take the wear and save the fingerboard, but also to try and get that added zing to the slap. Nice!

Hello! Another one from Brighton - we is legion!

[quote name='jonny-lad' post='508919' date='Jun 9 2009, 11:49 AM']Have you tried it with just one of your cabs on its own to see if it still happens with an 8ohm load? If it does, I'd assume that it's a fault somewhere either in the amp, cable or cab. If it still happens with the other cab and/or a different speaker cable, I'd think it would be a fault with the amp. If it doesn't cut out with just one cab, I'd think it would be an impedance issue.[/quote] Well it could be an impedance issue, or the other cab or the other lead...... You could narrow this down by drawing up a test matrix of your gear and checking everything out, but there is a chance that the fault is not the amp and yet only shows up when set up exactly as you have done (ie daisy chained from speaker A to speaker B and A has a fault in its connector) so you would have to even cover off the order of the daisy chaining (A -> B and B ->A) etc Worst case scenario is its not the amp, but it only turns up when you plug everything in together, and you cant figure out why. Testing like this where something (and you dont know exactly what) has failed can be very very difficult mate. It is an exact science, just a long drawn out and tiresome process... If I were a betting man I would put money on it being a lead or connector though, and the LMII is protecting against an intermittent short mucking up the impedance....

[quote name='dlloyd' post='508833' date='Jun 9 2009, 09:55 AM']Is that really necessary? I always thought it was the action of the thumb hitting the string itself that sounded the note...[/quote] Well that's how I do it If you are going at it then unless you have a daft action (v high) you will find the string does hit the fret if you look closely, and I play as light as I can even when slapping, without being daft about it. A thumb flailing around like that (ie relaxed and being rotated by your wrist) has a fair amount of mometum after all. I also think a lot of the nature of the slap sound does come from that strike against the fret. Have a listen to the first track on my myspace page, the verse is all slapped, as is the middle 8, that sound comes in part from the way the thumb strikes the string down onto the fret IMO & IME, if I play so lightly as to not hit the fret the sound is different, not so bright and punchy... As an aside, you can tell if a bass has been played slap style a lot by checking the wear on the last fret under the E string, they usually get mullered after a few years (my Vester is a case in point, absolutely ground away) - even the pickup covers can get obvious wear and tear from slapping that no other style of playing produces.

LH500 is a cracking amp, my son has one, VERY loud. Its not particularly lightweight by modern standards (markbass etc) but a very sensible old school solid state amp weight rather than all tube monstrousness.

There is a company who are causing issues by incorrectly labeling a cab as 8Ohms (more specifically the tolerances allow the cab to be lower than 8 ohms). But I think that is EA, there was some talk on talkbass about this issue as MB amps do protect themselves in that case. In any event I'm pretty sure it wasnt a problem related to EBS cabs at all. I've run my sa450 with a berg for some considerable time at 4ohms. No issues. That is what the amp is specified to deal with. The persons on the other end of the phone were talking rubbish and it is a shame you werent confident in your knowledge to bring them up on it! Daisy chaining vs using two outputs shouldnt make any diff, unless there is a short somewhere (which could be in the cabs or speaker cables or head). IMO it could be an issue with cabs or amp or even your speaker cable, unless you try it with a different amp and different leads, you cant be sure I'm afraid. Taking the pedal board out of the equation doesnt solve any of these. You need to get to the bottom of exactly where the issue is yourself. The MB amp could well have just been protecting itself from an issue else where. Si

[quote name='Doddy' post='508321' date='Jun 8 2009, 04:42 PM'].........Alexis Sklarevski. It sounds to me like you are striking the string over a harmonic 'node' point similar to a tapped harmonic. It's hard to explain with out demonstrating,but you need to hit the string hard enough so that it hits the upper fret. I find that hitting the string too lightly results in a harmonic-this is especially noticeable on the higher strings. I disagree with the notion that it is about the speed of the thumb and not the force,as it is possible to hit the string fast and light and result in a flurry of tapped harmonics-there has to be enough force to to prevent this,although not too hard. Your thumb should naturally rebound of the string. I also wouldn't advise practising by slapping your left hand finger- every 10 minutes you spend doing this,is 10 minutes you could have spent on the bass. I don't mean to disagree with 51m0n,but these are a few things which I find work better for me. No offence meant[/quote] None taken! The point I was trying to make is that if you take away the bass and just show people the action, a lot of the time they get what they are trying to achieve physically and can (and should) take that to the bass. WRT to speed vs force. I did say you need enough force to strike the string onto the fret, it's a surprisingly small amount on a well set up instrumetn. What you dont need is to be generating huge blisters on your thumb, or need a load of pretentious tape/superglue to cope with the beating you are giving your instrument and yourself. It doesnt help and you wont sound better for it.

[quote name='Uncle Balsamic' post='508375' date='Jun 8 2009, 05:46 PM']Could you make a replica with a MoMark for less money? Hmm...[/quote] I dont know, its a good question, but I rather doubt it as that would shoot MB in the foot a bit especially with some of the price reductions now available on LMII and sa450s as they are soon to be deprecated 'old' models I think.

I have the sa450, but I've never used an sd800 other than in a shop, so I've not seen just how loud it can go, although I expect most cabs would be unable to cope with its full output, whatever they say on the tin. I run mine at 4Ohms and its very very very very loud indeed, at least teamed up with my Berg, which is considered a pretty efficient cab. It has the same output section as the LMII if that helps. The eq and filters are great, very powerful. However I rarely use them, since the sound of the thing is perfect without - in a band setting it cant be beat with my tonal tastes... I know this thread doesnt really help you in your goal, but if you can find any shop with an LMII or LMII and an sd800 you have the same power section to compare.

Download audacity, set it to record what youPC is playing (its all in the manual) Set up spotify to play and record the utput with audacity - edit as required.... You will need to install LAME to export to mp3... PS I never told you how alright!

OK OK, calm down everyone. It does take practice, but if you are doing it right you'll get 80% success on a simple thump in less than half an hour (thirty years, who has been teaching you?). Really! First thing, have you ever watched the innards of a piano? If not then it may surprise you to discover that the string is struck by a felt covered wooden hammer. The hammer strikes the string as hard as you strike the key, but (and this is the key to a loud note with a solid fundamental), it rebounds immediately off the string. Your thumb is the hammer when slapping. So you must strike the string and immediately rebound off it so that no part of your thumb is touching the string after the strike to cause a harmonic to sound. The bonus side effect is you are ready for the next thump sooner. This is best achieved with a bass with a low-ish action (doesnt need to be silly low mind) Next thing to bear in mind, you need to strike directly over the last fret and with enough energy to just make the string touch that fret. No more is required to cleanly slap, although some players (IMO wrongly) use far more energy to slap the string than necessary. The key is the speed of your thumb, not the force. I've got loads of students slapping who said they couldnt with the following little exercise... To learn the slapping action do the following (without a bass on):- 1 make a (very) relaxed fist with your thumping hand (i'll refer to it as RH from now on, sorry all you lefties). 2 pull your thumb up toward perpendicular to your palm/fist (a loose 'thumbs up') 3 rotate your wrist/ forearm back and forth through about 90 degres of roatation - keep your thumb relaxed, the tip should flick about pretty rapidly. 4 make a fist with you left hand in front of your chest, bring your rapidly rotating left hand up to it such that your completely relaxed RH thumb is striking the knuckle of your LH index finger (which is now mimicking that point of the string you want to thump over the last fret) with the joint of the first segment of your thumb (theres a crease on your thumb there). It should make a clear thunk sound. Now strap your bass on, and repeat but this time mute all but the E string with your left hand and bring your flailing RH thumb up to your bass such that it is hitting the E over the last fret. Voila, slapping. Now you have to practice your accuracy.... Then there is popping (for which extend your middle or index RH finger enough to catch a string - D or G usually, sometime both for chords - whilst rotating your thumb away from the just thumped string). And double thumbing where your thumb doesnt rebound but strikes through the string and catches it again on the way back. Which is a fair bit trickier!

Crikey, I really feel for the guys putting up the plasterboard, thats a hellish task at the best of times! Looks absolutely fantastic so far! Dont get bored of taking the photos and posting them (only a years worth to go!!)

[quote name='peteb' post='506445' date='Jun 5 2009, 03:53 PM']Also, the audience generally don’t care about your bass sound, they would just prefer to listen to a band that sounds good to one that doesn’t – a good bass tone is just part of a good overall sound (along with everything else)![/quote] Oh well said, I mean it. To easy to et lost in the sound of the one instrument you play, but the rest of the band all have to do their bit. On top of which is the need for someone to be understood as the person who makes decisions for the band as a whole, and who is respected enough to be listened to. That helps too.

I take it this is the model that cant read, use a 'puter or search on the internet for reasons to get rid of its partner/owner?