stevebasshead

My first proper amp was a Laney Linebacker 100w head (it's still my backup amp) and it's pretty good, I could get some decent sounds out of it and it has some serious welly in the bass EQ. It's also seen action as a guitar amp, and powering a pair of monitors for the singer in my last band. Worked quite nicely!

[quote name='Dr.Dave' post='90747' date='Nov 19 2007, 11:46 AM']I've seen paper cones repaired with a bit of masking tape and wallpaper paste.[/quote] Just a thought, but would the equivalent for an aluminium speaker cone be some household aluminium foil superglued to both sides of the nick? If you're thinking of a recone/replacement driver anyway it might be worth trying this first - what have you got to lose? Regards, Steve.

Tons of excellent info [url="http://www.joeysbassnotes.com/Joeys%20frameset.htm"]here[/url] (covers 99% of basses and also the unique setup procedures for Rickenbacker basses) That site is well worth a read but in terms of your specific worries: If I take all the strings off; the neck will be seriously unhappy. [color="#000080"]Should be OK for short periods, if it's not under tension for any length of time you might need to tweak the trussrods[/color] Adjusting the truss rod result will result in certain destruction. [color="#000080"]Yes. But only if you're brutal Follow the tips in the link above and adjust in 1/8 to 1/4 turns at a time and check to see how the neck has responded and you shouldn't go far wrong[/color] Putting on new strings will require adjustment anyway. [color="#000080"]Not always, only if you change brands/guages/types then possibly your action and intonation will change a bit[/color] I don't trust my eyes. They are devious. [color="#000080"]Mine too, you should see what I've woken up next to *shudder*[/color] Intonation. [color="#000080"]Always slacken the strings before adjusting the intonation otherwise you'll risk stripping the thread of the intonation screw...or ripping the screw head completely off. I know because it happened to m...a friend of mine when he was young and stupid[/color] The bridge. [color="#000080"]See intonation above but in terms of string height adjustments you can't do any damage here.[/color] The main difficulty with a full setup is that it's a combination of 3 main factors - truss rod adjustment to get the correct relief in a neck, the string height adjustment at the bridge and the nut string slot depths. I don't fully understand the best way to get the relationship between all three correct (I need to brush up on my witchcraftery!) so if I have a bass that needs that level of setup I take it to someone who really knows. I'm happy to tweak my trussrods, bridges etc, just not the nut. They're not as scarey as you'd think once you've read through a few web pages of advice! Hope this helps, Steve.

I've not used one but the idea appeals, especially as I'm starting to think I have a similar problem in my band. I'm not sure from the Auralex site whether the top board is carpeted foam or carpeted wood, if it's the latter then as an alternative to the Gramma platform you can buy the Auralex "Platfoam feet" separately and make your own board custom sized for your cab. It should work out cheaper too, the Platfoam (as well as the Gramma) are available here: [url="http://www.studiospares.com/pd_461330_AURXPLATFOAM%20x1%20PIECE.htm#"]http://www.studiospares.com/pd_461330_AURX...x1%20PIECE.htm#[/url] Regards, Steve.

I use ordinary furniture polish to remove the residue of stubborn price labels on CD cases. I can't see why it wouldn't work on your scratchplate. Works like a charm and smells nice to boot. Failing that, if you've any old cassette tape head cleaner (Isopropyl Alcohol) lying around that should do the same trick but as they always say "try on a unobtrusive area first".

[quote name='MacDaddy' post='82395' date='Nov 1 2007, 05:31 PM']Forget the name, but the basses that were around in the 60's and are a tear drop shape, have an exceedingly slim neck.[/quote] Vox I think

[quote name='Finbar' post='81566' date='Oct 31 2007, 12:34 AM']GT6-B does need two simultaneous (awkwardly placed) switches to activate the tuner though ¬_¬[/quote] On the other hand they're out of the way of accidental activation...and the ensuing instant, embarrasing silence... De-activation only takes one press of either of the switches which is handy.

Not much help to your original question but the White Stripes "7 Nation Army" was apparently a guitar through an octaver and most people hear that song and assume it's a bass. There's bound to be info on what was used somewhere on the 'net.

[quote name='steve-soar' post='81348' date='Oct 30 2007, 05:01 PM']Boss GT6B only needs one pedal to be pressed to be put into true by-pass mode.[/quote] +1 for the GT6B, single pedal bypass as you say. I'm surprised the ME50B doesn't have the same - you'd think Boss would use the same underlying operating system. I find my GT6B really easy to use in a live situation (obviously once patches are set up and stored). All I've ever needed to tweak live is the effect volume which is usually down to room acoustics and obvious at the soundcheck. Never needed to tweak it mid-song during a gig. 4stringhell, if you wanted to persevere with multifx I'd recommend you check out a GT6B. One thing though - definitely read the manual! It's a doddle to use once you understand the logic of how it's set up but it's not really "pick-up-and-play". Spend a little time and effort and it'll click into place. Regards, Steve.

Cheers guys, keep 'em coming. I'll be looking into all of them

Thanks for the link, John, it looks very promising. Anyone got any more I should put on the shopping list? Steve.

Hi, our singer uses in-ear monitors because he says he needs to hear as much of his own voice as possible in order to pitch and sing well. However, our backline bleeds into his vocal mic (the PA guy's SM58) and I'm wondering if there's a better mic to use. We're not the loudest band on-stage by any means, and I know where he's coming from - I likewise need to hear lots of my bass to make sure I'm playing the right notes too. I'm thinking that an ideal mic would need to have a very, very close pickup pattern in order to pick up as little backline as possibe. But it would also need to be able to cope with his voice and screams, both of which are pretty powerful. Does anyone have any suggestions please? Thanks, Steve.

Also - if you can, record your rehearsals. It's weird how sometimes something that sounds like it works while you're playing it doesn't when you sit back and listen to it after the fact. Regards, Steve.

Dave's EQ circuits are usually based on the passive Fender Bassman design. If you turn the bass, middle and treble all the way off and your volume totally disappears that'll confirm it. These circuits are very interactive. I've done some digging since Dave told me the design they're based on and got hold of a bit of software which displays graphically what happens when you turn each control. I'm beggered if I can remember where I found it (might even have been from a link on a Basschat thread). It shows that a flat response ISN'T all controls at the 12 o'clock position like you might have thought. A flat, non-eq'd response is obtained with the bass and treble at minimum and the mids almost max'd out. PM me and I'll email you the software but also contact Dave (his ID is DHA here on Basschat) and I'm sure he'll be happy to provide further advice. Regards, Steve.

[quote name='stewblack' post='78851' date='Oct 24 2007, 02:32 PM']Even though Steve appears to contradict some of what I suggested I wholly endorse what he says in the above post - excellent advice. By way of explanation I only recommended the root note route (!) as a way in for someone totally new to writing their own lines.[/quote] Cheers Stew, and yes, absolutely for a first foray into bassline writing root notes are a great foundation. Bassballfan is gonna get some great advice here from all the experience BC'ers can bring to bear ^_^

In the context that you want to write basslines that show bass is more interesting than often given credit for, I'd say put your root notes in your back pocket and keep 'em there as a fallback position. They'll always work but they're also awfully predictable. Don't get me wrong, they have their place and some of my favourite songs have simple root note lines, but for interesting basslines you're better off thinking melodically or rhythmically in the first instance. Listen carefully to what your drummer and especially guitarist/keyboard player are doing. If there's an ascending chord sequence work out a descending bassline to play - these are quite effective. Leave gaps to accentuate the notes when you do play. Listen for moments in the song when there's nothing much else happening try a simple fill, see if it adds value to the song or detracts from it. If it works, it might stand out as a neat little hook which people will notice. Listen to records where you've appreciated an interesting bassline and then listen again to what the drums are doing, and then again to what the other instruments are doing. Pick a short passage for this just so you can get a feel for how the bassline works with and around the other parts. This will give you some hands on insight into what's possible. If nothing better comes to mind you can always play the root notes. By this time, as nothing better has come to mind they probably are the best thing for the song in question. But at least you'll have given it some thought rather than defaulting to it as so many bass players seem to do. You'll probably get conflicting advice as this thread develops but that's OK - pick through it and find what works for you, you'll have fun at least! And remember, there are fewer rules in music than in most other walks of life - you have more freedom than you think even if you have to convince a few people along the way. Hope this helps, Steve.

Did you try ther newspaper trick? Worked perfectly for me ^_^

[quote name='ahpook' post='72144' date='Oct 10 2007, 01:34 PM']yeah - windows is just sh*te now there was a place in a little square opposite an electrical shop on hood street (?) just before it opened onto the bigg market...can't remember the name tho...it was up some stairs.... soz - it's been 5 years since i left the toon.[/quote] Are you thinking of The Guitar Shop more or less opposite Aitken Bro's electronics shop? Up a few stairs and round the corner on the way to The Old George? (It's still there but is 99% guitar orientated. Occasionally has a bass or two in but I've never seen bass amps or cabs.) Guitar Guitar usually have a pretty good range of bass amps and cabs, I'd never seen Eden or SWR in Newcastle shops until they opened. Great range of basses too.

[quote name='Lfalex v1.1' post='71641' date='Oct 9 2007, 04:10 PM']Thanks, that link's really good![/quote] IIRC it was written by a BC'er, if my dodgy memory serves me I think that's how I came across it in the first place. All credit to one of our own in that case

Sound wise it doesn't sound specifically like Chris Squire's tone to me, just very Rickenbacker which is still pretty damn good. And yes, you should be able to get that tone from any 4001/4003 with the right technique, roundwound strings, a pick and a bit of amp tweaking. CS didn't always use the Ric he's most associated with on all the albums either. Fragile (I think) was done mostly on a 21-fret 4001 (which was later stolen.) Most 4001/4003 models were and are 20 fretters. Listening to tracks from each of the Yes albums back to back and you can hear huge differences in his tone and yet he's still identifiably [i]him[/i] even with different basses, amps, f/x, recording techniques etc. CS models always came with the old horseshoe bridge pickup - the one in the videoclip hasn't got the horseshoes. Either he's had the entire pickup replaced or just the horseshoes themselves have been removed. Either way, the seller should include them in the deal as without them the value [b]will[/b] be lower. And since horseshoe pickups are massively rarer than CS models it's not possible to put the bass back to original spec without a very, very long wait! Not to mention expense... I can't remember if it was just the early CS models that had the magnetic horseshoes, or all of them. If it wasn't on all of them then it'd only be the later one's that had cosmetic horseshoes which can be removed without stopping the pickup from working. CS models are pretty rare and also the occasional subject of eBay (and other) scammers - I nearly got my fingers burned once. Not saying this is the case here necessarily and I don't know if you're thinking of buying it, [b]but[/b], if you are ask the seller to tell you the serial number (off the jackplate). You can type it into [url="http://www.rickenbacker.com/service_serials.asp"]this[/url] serial number decoder on the Rickenbacker site. It'll confirm that it's a genuine CS model. Also make sure your seller has the original certificate of authenticity. Ask him to photograph it and the bass next to a local paper showing the date so you know he has the bass in his possession. Regards, Steve.

I think this is what you're trying to post...don't know the answer I'm afraid but someone more knowledgable will be along in a moment...

Ditto to the above advice, but if the bass still stinks after that you could use a gentle cutting compound to take away any ingrained contaminants. Over on the Rickenbacker forum a lot of people highly recommend Scratch-X, followed by Zymol as a final protective polish. I've just checked eBay.co.uk and they're both available here (buying some myself right now...) For the case would you believe ordinary newspaper will help remove the stench? I've used this myself - I lined the case base and lid with several flat sheets and then scrunched up some more to fill the gap then left it closed for a couple of weeks. Worked a treat. Regards, Steve.

This site might help [url="http://www.ev-b.com/compressors.html"]http://www.ev-b.com/compressors.html[/url]. It doesn't cover all the models you mention but makes for interesting reading anyway.

[quote name='brycebites' post='50089' date='Aug 24 2007, 12:56 PM']Steve, you'll be best trying ECC81's as they have higher gain than the ECC82's but not as high as ECC83's.[/quote] Cheers, I'll look into that (your valve comparison sticky will be useful )

[quote name='DHA' post='49932' date='Aug 24 2007, 08:23 AM']Hi Steve, You know the GTs are most likely Sovteks anyway GTs don't make valves they just rebadge same as Mesa, Fender, Marshall and EH. But they do get custom designs made for them which are just versions of a 12ax7/ECC83. Since EH took over Sovtek the quality has gone up as they used to gain test all valves and the best ones went to Fender, Marshall, etc. and the not so good ones went out as Sovteks. They now go out as EH but as I say they are much better. I noticed about 1 year back that I was not having gain problems with the EH valves as I was finding about 1 valve in 50 was not useable in my pedals. Dave[/quote] Very interesting, Dave. I don't know how old the Sovteks are, I bought the Ampeg two years ago but it was ex-demo so could have been older again. I vaguely remember seeing a QC sticker inside and I [i]think[/i] the date was '99 but that seems a little too long ago for it being a grey hammerite model. I put the GT's back in last night plus the EH's from the DHA, it seemed to sound better than I remembered when the Sovteks were in but it was a whole day later and might have been a bit subjective. And that was still at house volumes, and not at "neighbour-baiting" levels at that, so Tuesdays rehearsal will be the next proper trial. Thanks, Steve.