mlauritsen

Didn't realize he was a member here - cool! 🙂 @Bill Fitzmaurice, opinions on how to reproduce 30Hz output from a sub pedal? I agree, I didn't think the Tuba 18 was a good solution, hence my question here...

Thanks for humoring an ancient thread! 🙂 I was thinking about building something like this, but I'm not sure it would be an improvement on my current cab which goes to 35Hz? https://billfitzmaurice.info/T18.html I guess bass cabs are already designed for the low end... Does a subwoofer really go even lower?

I've used both the meatbox and the mantic density hulk, and for both of them, all cabs I've tried struggle to reproduce the 30hz (of the hulk). Dialing up the 30hz knob has a clear effect on the output, but I'm not really hearing it. Is that too low for older ears? I've been looking for a sub that can do something sensible with that range, but I don't want to invest in gear just to still hear nothing. Using a crossover with a "sub" output, what would be a good woofer to actually hear it? (I realize I'm reviving a 10-year-old thread, I thought it would be a shame to let it just die...)

Sure, but does it weigh 100+kgs? 😉

Might work to run both off 1 amp. Especially since the power amp can be bridged to provide 800w into one out. (I'll double-check everything, but first I just wanted to be sure I'm not completely insane. And no, you're right, I don't need cabs this big, let alone 2 of them. No-one wants rigs this big anymore, so you can have them practically free if you can get them before they get thrown out. Thanks! 🙂

I got some ancient gear, and now I'd like to plug it in without blowing anything up. Gear: 2x Peavey 3620 cabs, 2x Peavey CS800 power amps. I'm looking for a preamp to go with that, currently considering a tech21 sansamp rbi on a local site. I'll need to plug the preamp into 2 channels of the power amps, and I'm not sure how to do that? Simplest solution would be a Y cable, is that a good idea? Somehow it seems low-tech... Thanks for any help.

The best musicians play jazz. When people use jazz as an excuse for not knowing how to count, that's ridiculous. They're just doubling down on their own ignorance. I mean listen to Miles Davis and tell me he doesn't know exactly when and where he's playing every single note. Some tosser cutting the verse short has no business putting himself on the same continent as that.

Sounds to me like the guitar was cutting things short, which is hard to deal with, because if they do _that_, there's a good chance they also don't know what's coming next - you could have been thrown into the bridge when it should have been a chorus. Prolonging things is easier, because you just have to keep playing the same bit, with the added spice of predicting when the thing is going to end. 🙂 And like you said, if the extra bits fit into the structure (4/8/12 bars), it can be sold as "our version" of the song. One or two bars more or less is disruptive. In the end, your gut will tell you what to do. Our drummer was in a foul mood for practice this week, and I kind of got the sharp end of that. But he's usually a great guy, and a great musician, so feck it. When he's unhappy with my playing, he usually has a point. 😉

I'm going to out myself as a newbie and ask what the mariah carey reference means? 🙂

I know how he feels. 🙂 It's amazing how different it is to play with other people, as opposed to a recording or alone. Actually recovering from someone messing up / losing your/their place or generally getting out of sync is one of the great pleasures of playing together. The only failure is if it gets so bad you have to stop playing.

Seems like the kind of thing you wouldn't leave your bedroom without. We had a gruelling session last week, butchering "Smoke On The Water" for an hour... I'm not sure how you can play guitar for a decade and not know what the main riff should sound like. How do you deal with that as a band? I make mistakes myself in every session, so I try not to be an donkey when other people screw up. Still, you have to say something, there is no way we are playing SOTW that wrong in public. Our drummer was great, he pounded the riff on the toms to make it clear what was wrong. Incidentally, there was a funny conversation that day: - Drummer: "Isn't there meant to be a solo in there somewhere?" - Guitar guy: "Yes." - Drummer: "Can you play it?" - Guitar guy: "No." So if you can't play the riff, nor the solo, what exactly are we doing here? :-) (I'm letting off steam here, it's a great bunch of guys and we still had fun playing SOTW many times (main riff consistently all over the place and all). Just glad no original members were present...). A bad hour playing music is better than a good hour at work. I myself was called out for simply playing G through the verse (guitar guy really wanted his half-bar of F) - fair enough. 🙂 Ps. In general, I don't believe there is such a thing as "playing songs wrong". However, when you cover songs known and loved by billions of people, you _will_ get in trouble if you screw up the main riff. Pps. How much trouble am I in for drifting way off topic? Would it help if I mention our singer would be better classified as a "vocaliser"?

Getting the boot from one band has greatly increased my appreciation of the other band and the guys I play with there. Practice has been an absolute triumph motivationwise the last couple of weeks. 😉

I agree that the mix is a strange one - that was one reason I assumed we were a "for-fun" band, and hence, if the others were having fun playing with me (which was the only feedback I got), no reason to doubt my spot. Main lesson learned was definitely "don't assume you're in". Unless there's a contract in blood, assume it's up in the air, and invest accordingly. And always be ready for the boot, however subtle / kind it might be. 🙂

Totally agree about "boring" parts - that's great! Let's make it our own and do something with it. Our drummer recently called Paranoid "boring", but it's the song we consistently have the most fun playing. Turns out, if you can't play boring songs perfectly as a band, forget about the complicated stuff!

I agree with everything you say, this was a valuable experience, and looking at the list of songs, there are a couple which were are welcome in my book. 🙂 To your list of skills I would add developing a sense of whether you want to pass the audition, and learning to sense how secure your position in the group is. I was much too quick to assume that I was in for life. It would have been much less shocking to get kicked if I hadn't just assumed that these people I didn't know much about had nothing going on they weren't telling me about. And my ear needs to improve, that's job #1 now.