51m0n

That ceiling really is the biggest diffuser I've ever seen compared to overall room size - equivalent to two or three of the walls being diffusers I'd have thought.. A quite brilliant idea, and in all probability entirely bonkers! Does that room 'feel' even bigger than it actually is?

Thats pretty darned cool. Especially like the way the b-line takes a back seat through the sax solo - busiest 'understated' bass part I think I've ever heard, ace !

That rig is going to knock down walls, and sound lovely doing it. Look forward to the slightly scared yet glowing review Enjoy it!

Lots then - tip top!

[quote name='dmz' timestamp='1345581663' post='1779180'] I saw him at the Blue Note in New York in 2010 - did two sets but only saw the first one, a set with him on double bass. Great gig, [b]made all the better by having Hiromi on piano[/b] ! I'd love to see him play one of his his Alembics mind .... [/quote] I can certainly see how that would brighten up your day.....

Clothes can live in a bag though, an become more basstraping

Fill it with rw30 and call it a basstrap mate - simples!

Sucks to be you (not )

[color=#282828][font=helvetica, arial, sans-serif]1. Hamster - Fender Hotrod P/J, Bareface Compact, Auralex Gramma Pad, SFX Thumpinator; either Markbass 800 Tube or Ampeg PF500 Portaflex[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]2. BigBeatNut - Rob Allen Deep 5, Status Electro, Lakland 55-02 Fretless, Markbass CMD121P, a selection of SFX micro pedals[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]3. Stingray5 - Musicman StingRay5 and Stingray fretless, Tune TWB-6, Trace Elliot BLX-80 combo, Boss GT-6B fx, Gramma Pad, (+ raffle bits & freebies).[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]4 OBBM - undecided on basses but Schroeder cab(s) and mini-rack Mk2 (+raffle bits)[/font][/color] [i]5. Charic (tentative) - ACG Finn 4 (Drop C tuning), Yamaha RBX6JM, Modded Fender MIM, TC RH450, 2 x TC RS210, Line6 DL4 (delay pedal), Behringer Chorus Pedal[/i] [color=#282828][font=helvetica, arial, sans-serif]6. Happy Jack - Ampeg Baby Bass and (just for OBBM) at last I'll bring along a Hofner Verithin. If there's enough (any) interest, I could also bring along a Fishman Fusion pedal plus a rig to play through.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]7. Macdaddy - custom shuker or custom Iceni Zoot or Hamer Blitz + raffle bits [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]8. Billyapple - Gibson Thunderbird, Un-Finished Wishbass Lobe, Matamp GT200 Head, Matamp 212 Cab, DHA VT1 Eq[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]9. Walman - ([i]assuming it'll all fit in the smaller car I got last year as I was cutting down on gear [/i][/font][/color][color=#282828][font=helvetica, arial, sans-serif]) Wal Pro1/Custom hybrid, 2 x G&L L2500 US, Tanglewater ClassicJ, Roland PK5 bass pedals w DSI MoPho synth, GenzBenz Streamliner 6, BF Super12T - alternatively a poll on which to bring may be required[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]10. OliverBlackman- going to bring the Tokai as it seems in a recent thread not many have experienced the 80's Jazz sounds.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]11. Shockwave - Gibson RD and Gibson Grabber or Fender P-J Antigua. [/font][/color] [i][color=#282828][font=helvetica, arial, sans-serif]12. dc2009 (tentative) - Warwick Corvette $$ 5 Special Edition, Lakland Skyline 55-01. Sansamp, SYB-5, Q-tron+, BSY600. Anything more will need a lift![/font][/color][/i] [i]13. Eude (tentative) - ACG Finn SC Classic BO 5 string 33" Scale, ACG Finn SC Classic BO 6 String 33" Scale, Ibanez Promethean 5110C & EAD Foundation 112 3-way Prototype.[/i] [i]14.Bloodaxe (tentative) - Aria SB-1000 Frankenfretless, Ibanez Promethean 5110C [might add the SB-900 & Bloody ZZB Custom to this if anyone's driving from E or SE postcodes & I can blag a lift][/i] [i]15. 51m0n - the usual guff (Roscoe, Berg, MB blah blah, if in doubt check my sig) + a very tentative PluxTheDuck & related kit[/i]

Because the pages are not encoded in the same charset as the server says.... Something is going to have to give

You is just being dirrrrty now.....

Its a battle. But remaining calm even when tackling tricky pieces is a hiuge part of maintaining a good groove IMO. If you get tense in your jaw (I gurn like a moron when I get too far into it) you are likely to also be getting tense in your forea\rms and hands, and that definitely will affect how you play,m and therefore how you sound. The more tense you are the slower your maximum bpm at any given groove tends to be as well. Practise slowly, bring the tempo up a couple of bpm at a time from well below where you normally play a line, and really concentrate on remaining calm, and not plucking the strings too hard as well.

The Hartke LH500 is a very nice amp for the really rather small outlay, but Plux's is a tad on the harsh side (too brite) and they can be a tad noisey. It may be that swapping the tube out would calm that down a bit - anyone here tried swapping out an LH500 tube to mellow it out a little?

Nope, you need to head into the scary world of hardcore mastering amp solutions for the cleanest of amps:- [url="http://www.hexateq.com/studio700.html"]Hexateq Studio 700[/url] a 700w into 4Ohm monobloc amp. Look very spiffy driving a rather ace selection of monitors they do:- Nifty bit if engineering in that casework:-

Nice one! Distinct lack of logo in those doors though How much do they weigh then???

Hope you like it

Thats really nice, thanks!

Well here's a catch all topic for any chit chat about any of the blog posts I put up.... So far we have:- [url="http://blog.basschat.co.uk/an-introduction-to-the-introduction-to-recording/"]An Introduction To The Introduction To Recording[/url] [url="http://blog.basschat.co.uk/the-worlds-briefest-acoustics-primer/"]The Worlds Briefest Acoustics Primer[/url] [url="http://blog.basschat.co.uk/setting-up-a-compressor/"]Setting Up A Compressor[/url] [url="http://blog.basschat.co.uk/equalisation/"]Equalisation[/url]

Hope it works out for you, if the big amp thing is the only way to get your kicks then its the only way to go. I'm dead lucky, I've never liked an amp more than I like the sound of the sa450, but I wish the Berg ae410 was half the weight as it is, the closest cab tonally (for me) is a Barefaced S12t, but its not quite exactly what I want, and the Berg is, so I'll keep lugging it around (at least it isnt an HS410!) because its the only tone that always makes me grin. I dont really use pedals for grit, since its not a big part of my thing, but I'd love to know what your favourite warm overdrive through to just breaking up pedal was....

[quote name='Bilbo' timestamp='1345459562' post='1777634'] Personally, I think a good player is a good player and a bad one is a bad one. Whether you are slapping or playing through a distortion, you can only fool some of the people some of the time. The whole punk movement was based on some pretty bad players but it didn't matter as the audience were not looking for instrumental virtuosity. But, in the cold light of day, raggy timing is raggy timing and most people will feel it even if they can't hear it. I think most mature adults on here will be able to acknowledge great players whose music they don't like but most of us can also recognise those youtube cowboys who think they can rip s*** out of something but can't. I don't hink slapping or distortion will hide anything. [/quote] +[size=4]1[/size]

[quote name='FlatEric' timestamp='1345362505' post='1776550'] Thanks for clearing that up. "If the gain is set, just before clipping and then you add the middle, or anything else, it will tip it over the edge but just adding middle, will not create distortion". is what I said. Seem like that is what has been said here. I shall put my point across again. Cheers. [/quote] My pleasure

[quote name='Dingus' timestamp='1345236350' post='1775510'] If you re-read my post, you will see that I clearly state the Marcus boosts the bass and treble to create the apparent illusion of a mid-scooped sound. He doesn't actually remove his mids, and you are also quite right that compression is an integral part of his sound ( although it has to be said that the biggest part of his sound is him). As you peceptively point out, many people fail to grasp this in trying to imitate him. As I stated in my first post , part of the problem is that people have different ideas of what distortion is. I am talking more about that fuzzy clipping sound your cabs make when it sounds like they are being seriously damaged and may explode if not given some kind of respite. I only have a grade 3 C.S.E in physics ( lack of revision) , but i think it It may be called square wave distortion. [/quote] Adding treble and bass is the same as removing mids. The ratio of bass frequencies and treble frequencies to middle frequencies is changed in effectively the same way. However, if you are on the limit of clean headroom and you add bass and treble, they will cause you to overload the preamp. If, instead, you cut the middle, you will create the same eq curve (or there abouts, depending on whether the eq section has equal Q for boosts as cuts, and the precise frequency center of all the controls blah blah blah), getting the timbre you want without distortion. For what its worth an old sound engineering adage has it that you should cut tight and hard, boost wide and gentle, if you are aiming to keep the general timbre of the source sound. Largely because the human ear is rubbish at hearing tight Q cuts even of over 10dB, but very good at hearing (and recognising this as an unnatural timbre) tight Q boosts as unnatural. But also because cutting reduces the chance of overloading the circuit, whilst also reducing noise in the frequency band you are cutting, whereas boosting can both add distortion (or oveloading) and add noise (because you are boosting a particular frequncy area). No, distortion is distortion is distortion, it is (whether intentional or not) in the purest sense (oh the irony) any change caused to the signal by any part of the signal chain. However in the context mentioned here it is very definitely the sound caused by overloading the preamp (and possibly the power amp, and in a tube poweramp even the output transformers) circuits to cause clipping of the output. Whereby the output waveform is severely impacted (changed), the peaks are cut short (because the circuit runs out of headroom), and the circuit generates extra harmonics as a by product (as well as effectively acting as a compressor). This state is [b][i]not [/i][/b]frequency dependant, it is [b][i]level [/i][/b]dependant. Which is why middle doesn't create distortion, whilst bass and treble remove it. That is nonsense.

[quote name='Musicman20' timestamp='1345230282' post='1775401'] Some guys/girls gig with seriously low wattage amps. There is no reason why you can't. [/quote] Yeah there is, you wont be able to hear yourself against a drummer, and your tone will be a pile of doodoo due to having no headroom for the bass end

Marcus Millers sound is not simply scooped. An awful lot of people try and get his sound by eqing like mad and cant be heard at all in a mix. He's also very very adept at setting up the compression he uses to sculpt the bass sound, particularly the transient and the relative level of the rest of the note that follows that transient. His sound is clean because the peak level is beneath the maximum headroom of the amp. It is absolutely nothing to do with the eq on it at all. Its about appropriate gainstaging of his equipment for how he plays. If he made it louder it would distort when he exceeded the headroom of the amp. There is absolutely nothing else to it. You should read up a bit on [url="http://en.wikipedia.org/wiki/Fletcher%E2%80%93Munson_curves"]Fletcher-Munson curves[/url] which describe the way the human ear is 'tuned' to certain frequency ranges at certain volumes through the evolutionary paths that have occured. We excel at hearing midrange information (a big part of why sucking the mids out of your bass tone is a killer for hearing the instrument in the mix), and suck at hearing deep bass and extreme high end. However that doesnt chnage the fact that the circuit is overloaded, and if you know what and how to listen for it you can pick it out. Midrange doesnt create distortion though. That is not the case. We hear better in the mid range (1Khz to 5KHz being the optimum area), but that is all.