xgsjx

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.

I'd go with chorus too. Sounds like he's also using a pick.

A big difference between the 4x10 and a 2x12 is the vertical 2x12 has a far superior dispersion, meaning more people get to hear it when they're off axis. Back in the late 80s & early 90s I had 2 15" cabs. I moved them on & got a 4x10. Now I have a 2x10 that outperforms either of those rigs in every respect.

Practice your scales, that'll help build speed. Then practice them not just going up & down, but use different patterns (use some of the patterns out of Hit Me). The key is to practice & the secret is to have fun.

If you're still up, get D'Angelo's Voodoo on. Pino on bass for a good few of the songs too.

I'd say go to a shop that stocks.

[quote name='Dom in Somerset' timestamp='1392023416' post='2363580'] ...Of amps used for gigging I remember my first Bass Bash, everyone set up huge stacks around the room and there I stood with my Laney RB7 300W 2X10 combo feeling a little small. I'm not in a load band , I rarely use it to it's full potential. Bigger venues I've played DI it , I wouldn't mind adding a 15" cab to it for extra lows but I could live without it. Anyone use anything smaller?Or do you have a big one ?(ooh er) [/quote] How do you know a 1x15 will give you extra lows? If you want extra lows, get a sub.

I'd also suggest to go & try a couple in a shop first to make sure it's what you're after.

Getting a P sound? Every P copy I've played sounds different! I'd try re EQing your amp first & then try changing the pickups in the 800 (just the P) & see if that does it. I play an SR1000 & mainly use just the P & can get a great blues tone (I used to play in a blues rock band). Getting a P bass copy might not solve anything.

If you know it's your amp, then I'd contact the buyer & let him know that the amp was stolen from you, get it back , get the details of the seller from him & contact the police (or the big man).

It does seem to be a common issue with all but one of the guitarists that I've ever played with. The 2 in my current band included. As he's your friend, I think the best course of action would be to have a member of the audience shoot him in the nads with a taser every time he fluffs up.

If it's live, then either the drummer or bassist counts in (usually the drummer). Songs where I start have begun with me doing a count in. Recording or playing along, use a metronome in the software (any DAW such as Garageband or Reaper).

[quote name='LukeFRC' timestamp='1392055951' post='2364164'] I've been looking for smaller cabs than a 4x10 and all I can find is 4x10's... I think if I were upgrading, given the choice I would try something other than ashdown. [/quote] 2x12s are smaller than 4x10s & are a vast improvement in most departments. I'm happy with a 2x10 for now though & my current one shifts more air than my Trace 4x10 could.

The line 6 M9 & M13 get a good rep.

You can take a line out from the FX send & into the computer & plug headphones into that. Set the gain to where it needs to be (to control the signal going to the PC) & set the master to 0. I do this for recording (often turning the master up to hear the bass when I don't use headphones).