xgsjx

The Moog is a fantastic sounding filter. I have it & use the expression pedal to control the cutoff & also have a control on my bass to adjust the auto follower if I decide I want some funk in a song.

[quote name='chris_b' timestamp='1393761610' post='2384033'] Running an amp at "full load" is what it is designed to do and should not represent a "strain". [/quote] That's what one would hope, but in reality, it doesn't work like that. As BFM says, "it's like running your car to the red line all the time".

[quote name='chris_b' timestamp='1393748367' post='2383861'] There is no "extra strain" on an amp running at 4 ohms! [/quote] Running an amp at full load means there's more heat going through your amp's components, which is the trade off. I'd call that "extra strain".

I used to have a Trace Elliot 4x10 combo. Replaced it with a MarkBass 2x10 combo & it put a big smile on my face.

If you're trying to keep the budget down, then Genz Benz are worth a look just now. I'd be trying gear out though to see what you like, there's a lot of good gear out there at all sorts of prices. I would always aim to get an 8 ohm cab unless the one you want is only made in 4 ohm. The difference in volume is so little that it's not worth restricting your future or the extra strain on the amp.

Great pic & I've gotten inspiration from it. Every month I say I'm gonna get an entry & every month I do make a start, but never get time to finish. I've made a start, hopefully I'll get it finished this week!

If you can get a MarkBass 2x10 in budget, then defo worth a shout.

[quote name='Horizontalste' timestamp='1393692116' post='2383437'] I use an Alesis Multimix 4 & it will take a guitar or bass straight into the channel if you select the guitar/bass switch so no need for a di. It also seconds as a Usb interface too although I haven't used this feature so can't comment really. Sorry for the slight thread deviations op [/quote] I used a iMultimix 8 for a short while, but I got better results going from the amp direct to the mac than I did through the mixer/interface using the USB.

The only right order is the order that is right for you! I put the EQ in the middle & the compressor never made it.

I tried an American Jazz & it certainly didn't suffer from a lack of low end umph. Made me consider getting a Fender too!

[quote name='51m0n' timestamp='1393593846' post='2382338'] One use for it you may find is as a filter that doesnt open, but knocks of top (or bottom if you can do that with it) end, by setting the sensitivity so it never opens. Not really getting the most from it like that though! [/quote] But if that's the sound that you want, then it's the right pedal. A prime example there is my Bass Murf. I rarely use the sequencer section on it, but I do use it to split the frequencies to sub 110hz on one channel & everything above to the other, which then goes through more dirt & a filter (& a chorus too). It also adds a little drive to the overall sound, which is nice. My filter is mainly used to cut the top end & bring it in with an expression pedal, but I use the envelope follower on a couple of tracks.

I'd 2nd going for an 8Ω cab. Never used an Eden cab, so can't comment further, but I'm happy with Markbass.

The way things are going with me musically, I'm tempted to go back to piano/keys. Get a good keyboard & you can get some excellent bass sounds too! I'm a great believer in learning as many types of instrument as possible, that way you can understand what your part needs to do in the song.

If you can live without the built in tuner (you could plug a tuner into the tuner out), then the Markbass 2x10 combo might be worth a shout.

Done. When do I get the beta pedal?

My main bass has always been my SR1000 that I bought back in 1990. Jap made & still going strong (though it's been completely stripped of it's black paint & I took the active electronics out about a year ago. Used to look like this... [url=http://www.flickr.com/photos/xgsjx/2607131595/][/url] & now looks like this... [url=http://www.flickr.com/photos/xgsjx/12775506913/][/url]

[quote name='BigRedX' timestamp='1393318271' post='2378523'] The general rule is: Things that use the dynamics of the instrument to function like envelope filters go first. Things that alter the envelope of the instrument like compressors, fuzz, distortion go next. Things that add new dynamics to the signal like tremolo and delay go after. Anything else that doesn't use or alter the original signal envelope can go where ever you think sounds best. [/quote] Sorry buddy, but I disagree with that as it really depends on what kind of filter, dirt, modulation, etc you are using & what sort of sound you are going for. If you're after a synth like sound, then dirt going after the filter means that the sound has always got that fizz, whereas putting the dirt in front means you can cut the dirt's effect & bring in swells when using something like the Moog MF-101 with an exp pedal. If you're using an auto wah (such as an envelope follower), then you "might" want to put the dirt after it to have a dirty funk sound. If you're using an octaver, again it depends on how you want to sound. If you want to just beef up the lows with some clean low end, then it doesn't matter where it goes. If you use the octave down to get your primary sound, then you may want to put the octaver 1st so that the following effects affect the sound of it (it's probably pointless putting tone shaping effects before something that generates it's own sound). I agree with putting certain modulation effects towards the end, but again, putting the chorus earlier could give you that DnB sound. Some folk prefer the compressor at the start, some at the end, some put it in the middle. Me, I put it on the guitarist's board. The Boss selector opens up a whole new world of routing & split signal paths. Perfect for making sounds that the guitarist won't understand!

I would play about with them & try every combination you can. If someone says "X should go after Y" ignore them. I have mine so that the filter is near the end so I can cut all the dirt & just let low end through so I can make wubs & swells. I do change things about with the other pedals though to see what interesting things I can come up with. Have a read through this (starting from the bottom article, part I)... http://sheponbass.co.uk/blog/?category=Signal+Chain+BASSics

When you're trying to identify if an amp manufacturer has a signature tone or not, you need to take into account what is going into it. E.g. You found Markbass very round & punchy, which I've heard that term used by many bassists to describe their rig. I think this has more to do with the bass. If I put my bass straight into the amp (which is Markbass) on the bridge (J) pickup, then I'd have a very mid biased sound with no real low end (can be good for certain styles of playing). If I then use the neck (P) pickup, it then gets a much bassier sound whilst reducing the mids a small amount. If I then go through my fx board (which I normally do), then the chances of you telling what kind of rig I'm using without looking at it is pretty much impossible.

I used to have a Stingray guitar head back in the 80s that looked like this... The redeeming feature was a big spring reverb inside it. You could lift the end up a couple of inches & drop it & it sounded like thunder! I had one of those Cobra 90 bass heads too. It did it's job, but it was just a cheap head.

[quote name='essexbasscat' timestamp='1393062643' post='2375692'] Ramble On - Led Zepplin [/quote] I've been wanting to play that since I first learned it as a teenager. The guitarist that I grew up with learned it, but we never had a band together. The other song that I've always wanted to play is Shy Boy by Talas (or DLR, or Mr Big). Awesome song to play & looks & sounds 100 times harder than it is. A recent one that I've learned which I'd like to try is Wynona's Big Brown Beaver by Primus.

Like Truckstop says, you're gonna send the same to the 4x10 as the 2x10. Therefore the drivers in the 4x10 are gonna be working about 1/2 of what each will in the 2x10. I'm not saying there's anything wrong with the Hartke, but if you're not happy with the Hartke, it might make more sense to sell it & get something that you do like? Obviously go & try some gear & listen to other bands gear (Lozz196 found his rig by doing this) before you get rid of anything.

I've got the score for the full album somewhere, but I think it might just be the guitar parts. I'll let you know if I find it.

Barefaced do have a 30 day return if you're not satisfied & Alex is a member here too.

Drivers of today are far more efficient than they were in the 90s. Whereas a larger diameter will move more air, that's only if the driver has the same spec as a smalle driver. A B&C 10" driver has a longer excursion and a better surround than the Celestion 15" driver I had. This means a 10" moves far more air than the old 15". More movement on the driver doesn't mean harder work for the amp, it means the driver is moving more & if it's built to do this, then it's more efficient. Now don't get me wrong, movement of air is what we hear & the more you can move, the louder you can go. But you don't need big drivers to do this & remember, driver diameter has no bearing on how much bass a cab produces, that is down to the tuning of the cab. I don't believe 4x10s & 4x12s were designed for bass, they're more like poorly designed guitar cabs with bass drivers put in them.