coasterbass

I remember watching one of those 'greatest album' shows. They gave the master tapes of Pet Sounds to George Martin, and he transformed it. (at least thats what i remember. It might have been the other way around tbh... ) and... RICK RUBIN !!

Well, there's a dilemma for you... you can either go and see Victor Bailey, or my band playing their only London gig of the year at Islington Academy. Choices, choices, choices.

I always think that a Warwick Profet 5.1 should be like a Dolby surround sound thingy... creates these images of some poor guy surrounded by loads of bass amps going deaf. Bit like BassBash[sup]tm[/sup] I guess...

I'll be dropping down from Crystal Palace, through Croydon, Caterham, thence round the magic roundabout to the M3. Or, I might come out through Clapham/Wandsworth.

I reckon i played lefty because i always played air guitar that way

The curious thing for me is that he ditches the pick for the 2nd half ??

The only thing my third finger can do is scratch my ar%e. Its the least talented member of my personal band. Hence my need for a pick. I'm not new to the pick, but triplets at that speed is proving tricky. I know more practice, (and then some more) will help, but I'm curious to know what i should be doing.

Quick question covering technique and stamina I guess... I'm trying to learn Knights of Cydonia by Muse. The galloping triplets from around 1m to 3m are killing me. I haven't really had to do this before (apart from an annual blast of 'do they know its christmas?') We're playing it 40bpm faster than the recording. (ps. this is all plectrum related) Now, technique wise, am I supposed to do fast triplets by pivoting my hand on the ball of my wrist; or is it my whole forearm that is supposed to move?? Or neither?? With the former i get friction burns after a minute or so. With the latter it feels harder to control, but less painful. Stamina wise, I get muscle pain halfway up my forearm, which feels liek its from holding the plentrum too tightly. Any tips for all this peeps?? Cheers

[quote name='BassManKev' post='274543' date='Sep 1 2008, 02:14 PM']flea can play both left handed and right handed, during the californication tour at one point he was playing a left handed modulus due to one of his hands f***ing up, id imagine the left afaik he is right handed[/quote] I'm intrigued by this, as I wasn't aware that Modulus made any lefthanders? They aren't listed as options on their website from my memory, so maybe it was a special one-off model? I'd love to get me one of them!!

Lefty playing Lefty. And proud ! Yeah, its harder to find basses, but it cuts GAS massively and you LOVE any decent bass you ever find. Its easier to sing backing vox on a shared mic (its not just The Beatles who do this!) Curiously I started on a Righty, played Lefty, but soon swapped.

Doh! - you missed me gear off the options list Oh well. I won't do anything silly. Not just yet anyway. I'd be interested in the idea of having some 'industry standards' there, just so that the tone of a particular cab can be isolated.

Certainly playing live I've found no problems. I haven't recorded with it so can't comment on that. Its got a lot of tubes to give it the growl it has, so its not noiseless, but nothing to be of concern I'd say

For an 'all in one' cab solution my 410HLF was great. I believe it goes lower and handles more juice than the others you mention. That said, it is a beast to get around, even with the tiltback castors. If shifting it isn't a problem then I'd heartily recommend it, but if moving it is a concern then you might be better off with some of the smaller cabs currently available like the Schroeder/Aguilars. They don't have quite the same stage presence but they are easy to move and match a 410 for sound.

This is what you need ! [url="http://basschat.co.uk/index.php?showtopic=26549&st=0&gopid=272648&#entry272648"]http://basschat.co.uk/index.php?showtopic=...mp;#entry272648[/url]

Does that rig have [b][/b]two[b][/b] Pod's in it ??

Worth asking if there are any basschatters in 'south staffs' that can help out with a cab/amp??

Has it [b]become[/b] flappy at high volume, or was it always like that? Combo's like your Laney, and the Peavey 1x15 I used to have, aren't really designed to run flat out. As they are 100% solid state the powerstage will start to clip early and do nasty things to the speaker, increasing the bad sounds you talk about. If you find you are using the amp turned all the way up then yes, it is time for a new amp, not because its sh*gged but because you need more volume. Retire your Laney back to bedroom/practice use where it can serve out its days in peace

Its a beautiful preamp. It can do subtle, lush, full tone.... and then tear the face off the audience with a quick twiddle of the drive knob. I moved from an SVT4 to the SVP and find it far more flexible, and with bigger tone. (and about 5 stone lighter) In short.... its the mutts nuts. I run it into a studiomaster poweramp, because thats what i had lying around, and for gigs I run to the PA anyway, with no backline. Some fellow Basschatters have run them into the lightweight Crown series, and of course the QSC range. Its a great amp and you won't regret it. Being able to carry the tone of an SVT around in a super-lightweight rack (shallow 2u with a tuner is all you need) is such a brilliant thing

Just had an email from ebay saying that the final value fee goes up to 10% next month !!

Depends if you are doubling up as soundman whilst playing. If you have a soundguy, or just someone capable who hangs around with you whilst you play, then the 31-band EQ approach is best. But, if you are trying to play whilst run the PA then the feedback destroyers work really well as they can move faster than you can. I used the Behringer Ultracurve for a long time and found it worked very well (as it contains the twin-31 band EQ as well). Looking at other options, I'd also say that upgrading your cabs and mics will help a great deal too. Nothing causes feedback like a pair of PA speakers being driven (too) hard, and quality mics help isolate unwanted noises too. If you are mic'ing the drums then a Gate is essential and will make the job much easier and prevent much of the stage feedback.

Jeepers!!

Without wanting to make this even more complex... Be careful about using a x-over to separate your dirty and clean channels - the effect is much more pronounced than simply EQ'ing the two channels differently. With an EQ you can give 'bias' to the tone, probably giving more high frequencies tothe fx channel so that a fuzz/delay can stand out, and keep the clean channel for the low end. However an x-over will completely remove any frequencies below/above the specified x-over frequencies. Nothing at all will show. Done without care this will at best leave you with an overall mix with gaps in it. At worst your clean channel will have no response above an open-G string (for eg.), and your dirty channel will suddenly vanish as you move down the neck... try that with an octaver or pitchshifter!

[quote name='warwickhunt' post='270881' date='Aug 27 2008, 11:46 AM']The only down side was that I 'had' to take both combos (H&K Bassbase, which were quite weighty) to get what I wanted. If you had a stereo cab (1 cab with each speaker(s) with its own separate inputs) you could do it on a smaller scale![/quote] Don't distract the man !!!! [b]Twin[/b] Ampeg 8x10's are essential for ALL pub gigs !! Everyone knows that.

[quote name='geilerbass' post='270814' date='Aug 27 2008, 10:25 AM']I've had a similar problem with my AH350SMX. It's definitely the SMX 12 band pre-amp and clearly has a 350W power stage, but I can't find any information specific to it. There's the manual covering the AH300SMX and AH400SMX, but nothing on the 350. Weird.[/quote] I could be mistaken, but I think the original amps were the 250 and 350, which were then 'enhanced' up to the round numbers of 300 / 400 (in terms of the powerstage). It surprises me that there is trouble getting info on these amps... they really were the (classy) bread and butter amps of the 90s. You couldn't go to a gig/studio and not see green somewhere. If there aren't many for sale then its probably because they are class and people hang on to them. IMO both SM and SMX series of amps were the last great amps that Trace made. The V series was awesome, but the SM(X) were just so versatile.