LukeFRC

[quote name='operative451' timestamp='1373980915' post='2143783'] I'm using 'tone' to mean sound made by the player, instrument and amp all working together - like in say the gear forum where someone would talk about 'Duff McKagen's tone' - so yes, tell me everything..! ;D I guess what i want to know is, what to adjust to get certain elements of sound - like for instance fiddling with mid-range from a total scoop can go 'muffled muffled muffled CLANKY cardboard' quite easily. And boosting overdrive can add that throb to the low end that you get when the bass is turned up all the way, but again, it's easy to go from throb to fart to speaker jumping out all over the floor... And i find that a bit of overdrive becomes sort of dirty compression on the way to full break up, which sounds nasty until it gets really distorted at which point it becomes fuzz! So (i'm told) the reason we 'like' valve tone more than solid state is that it's dirtier! The valves distort, compress and colour the sound, while transistors and digital replicate it more perfectly which makes our monkey hearing go 'yeuk!!' [/quote] sound is quite complex - one of the best ways to experience this is by playing - luckily with a computer and headphones you can... find a way to plug into your computer and run garageband, PC equivalent or something a bit fancier - now look for a parametric EQ - the garage band one has a 4 band one turn on the scope and have a play - you can see the graph of which freq. the sound is louder- now play with cutting and boosting the frequencies and moving them up and down - listen to how the tone sounds. Then try doing that and playing in different places too - the right hand can have a massive effect on tone - and this is before we've touched amps, the bass, the pups, the set up or anything. What Eq does your bass/amp have? the best way to learn is to play and listen - for instance- "[color=#282828][font=helvetica, arial, sans-serif]The sound i 'want' is thick without being muddy, bitey without going fizzy when i hit the fuzz, twangy without clanking (ok, that might be my fingers)." sounds like boost the low mids not the bass, and make sure you're not boosting the treble to much - if theres too much clank raise the strings a bit and it will also possibly thicken up your tone. [/font][/color]

[quote name='bagsieblue' timestamp='1373901962' post='2142885'] Nobody familiar with these? [/quote] send a PM to andy travis - he's the farida expert around here

[quote name='Kev' timestamp='1373928358' post='2143413'] I'm a Warwick guy therefore i have to hate Spectors, however that looks brilliant. [/quote] good old ned steinburger

[quote name='chris_b' timestamp='1373836143' post='2142155'] Pino's in time. Playing with a groove like this isn't learnt through practise. You've got to get out and play it live. [/quote] I was going to say something similar - some of it is on beat and some of it infront and some of it behind. I think you could possibly learn through practice - but more through listening to lots of music and just hearing where to put the beat. and they as chris b says play it live.

It is daft. I put it up there with "buyer sorts out courier." - fine until you realise you still rely on the seller to pack the thing well. I presume that it's my reponsibility to get it to the buyer - if the courier mess up it will be me filling out the insurance after all. My other wee bug bear is folk who don't let you know it's got their safely.

just go and play a load of stuff.... surely if you did go sei then the change could go for a couple of day trips to ldn?

is it just me but doesn't the spacing between the pickups and the bridge look just wrong?

ooooh bloody nice that is too!

take up the bagpipes for a bit. They'll be begging you to go back to the bass...

apart from Bravewood... and maybe Wes Steed's Herbie Hancock bass he made they don't look real do they? Up close Nash's look awful IMO. I don't mind it though but would much much rather buy some idiocentric secondhand bass where all the dings tell a story. I like well played basses me, I've bought a few basses off here and then sold them quite quickly as I feel too precious about a almost imaculate finish. I have a JV squier that lives in a case in a cupboard whereas my jazz and wick get played loads cos they're already well played enough to not have to worry about a finish too much. The Warwick has 22 years of play polishing the wood whereas the Jazz I finished myself so it's not perfect.

[quote name='wateroftyne' timestamp='1373405796' post='2137337'] None of the above :-D No giving the game away, Mr. Hunt...! [/quote] Something Warwickhunt's knocked up at work over lunch breaks

behringer, but with a custom grill on them natch

warwick infinity????/!

sounds like it came out around 2002... just after the white stripes went big and yeah yeah yeahs.

[quote name='walbassist' timestamp='1373069871' post='2133543'] A mate of mine has one of the very first Squier P basses brought into the UK, complete with Fender spaghetti logo and the smaller Squier series logo in black on the end of the headstock. It's an amazing bass in every way, beautifully put together and tone to die for. If this is half as good as that bass, then it's a good 'un! [/quote] I've one of them too. Great basses! (even if my one currently doesn't get played ) your one looks great too tredders! def looks the part how does it compare to your '73?

you know that the pickups are in different places?

everyone copies fender... so they got their own back by making their very own... burns?

ooofff heavy!

[quote name='owen' timestamp='1372964590' post='2132278'] Did I mention the weight? [/quote] you did, but not how much it was, how heavy is it?

I think there are a number of things here.... Would I be happy without an amp? Just through the PA? Yes given a good foldback monitor (see the thread on this in the amp section about using PA gear instead/as an amp) - I would quite happily just plug straight into a DI box, my basses, and my playing, is good enough that that works for me. In some cases it is easier than having your own amp and you can get a better onstage and FOH mix. Would I use a modeling amp? No not in a million years! I've tried and I found.... it wasn't great at adjusting on the fly, and every one i've tried has had an effect seeming to compress my tone and dynamics in a very non natural and musical way. In the same way I've played live with our drummer using a top-of-the-range very very nice electronic drum kit- sounded immense from the FOH - but to play along with their seems to be so much compression going on.... you loose something. So I don't like the modeling stuff I've tried.... they also confuse me... cos I don't get why anyone would... well if I were wanting to go that route I really don't know why I wouldn't buy an audio interface... cos I'm pretty sure my macbook can act as better audio processor, with more options at hand and easily editable, than pretty much anything line 6 make.... or if I were going the other way, analogue effects/preamp into a DI would give many of the same effects - with the bonus that you could build them yourself.... I think also having worked PA a fair bit- if the POD mixes that sound good with clinical headphones how do you know they won't turn out to have massive variations between patches when played through the idiocyncracies of a live PA and specific rooms? It's not going to behave in the same way. One patch sounds great, next song switch to a patch where the preset EQ on your POD, plus the EQ on the desk, plus the resonant freq. of the room, plus the speakers built in Eq..... and what does the PA guy have to change your FOH eq every time you change a patch?

[quote name='LawrenceH' timestamp='1372942975' post='2131911'] This is the crux of it really, does your particular sound require even dispersion above 1k or so? Plus, do the players who have their cabs below their waists realise how much they can be blasting a beam of treble death across a section of the audience to get it sounding right 30 degrees off axis, where their ears are? I am really interested in knowing more about which frequencies different players prioritise in the way they hear their sound, I am convinced it's really variable. [/quote] the frequencies they prioritise that they want for a tone, or the frequencies the want to hear their sound? I've found that sometimes they are different things, what I tend to need to hear in order to play (in loud/busy mix) is a fair bit higher than I would nessesrally want/need for a bass tone (from FOH point of view)