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[quote name='briansbrew' timestamp='1490046038' post='3261794'] Nice work xgxgs, looks like you put in a lot of work on the sanding, I found the inner horns quite difficult but it pays to take your time. The water idea is good and I will bear that in mind the next time I do a project like this. Your finished bass looks awesome and much better than the painted job, hard to beat natural wood. [/quote] It took a good few weeks from start to finish. My original intention was to dye the wood blue & silver leaf part of the body, but when I saw the wood, I changed my mind. Though it still might happen at a later date.

Nice work. I found that spraying the wood with water & leaving it to soak between sanding helped to enhance the grain. Then several coats of Danish, followed by a few coats of wax. This was mine. https://flic.kr/s/aHsjuw23Lc

If it's a studio recording & he did use an amp, then the chances are the sound will have been tailored further & sound nothing like what the amp did. Could it be the bass that makes that blissful sound that you like? Maybe you're in the market for a fretless PJ & a transparent rig or straight to PA with IEM.

I've got mine. Possibly the shortest song I've ever composed, but I think it says exactly what it needs to. Starts off with the bounce of the crowd, then they egg on the stage diver. After a minute, he leaps & floats through the air with this euphoric feeling, trusting that the crowd will catch him. They do & he's then bounced up & down to the beat, before landing on his feet to enjoy bouncing to the rest of the groove. [url="https://soundcloud.com/gxmix/crowdsurfing"]https://soundcloud.com/gxmix/crowdsurfing[/url] Enjoy. Edit: Updated the bass sound.

[quote name='Naetharu' timestamp='1489494958' post='3257369'] I don't think that is quite right. The effects loop is just a way of putting pedals between the pre-amp and the power-amp stage. It's most important when you're getting some clipping/distortion from the pre-amp. The best way to think about it is to imagine your amp is actually two units. The pre-amp is just like having a Sans Amp or other DI pre-amp pedal. And then you have the power amp section that gives you the grunt you need to push the speakers. By having an effects loop you separate these two parts and thereby allow yourself to place effects where you choose in the signal chain. If you place modulation effects (chorus/phaser etc.) before the pre-amp you'll generally get a more radical effect, especially in cases where you have a distorted tone. This is the same as if you were going into a clean amp, and you used a modulation pedal before an overdrive pedal. The OD pedal exaggerates your modulation effects and gives you a very distinct and vibrant effect. If you place the modulation effects in the effects loop section of the amp, you'll be running any gain sections first and then modulating which gives a subtler effect overall. Which is right really just comes down to the sound you are looking for. The effects loop is just a means of allowing you to wire your signal chain as you choose, just as if you had purchased a separate pre-amp pedal and a power-amp unit. It's a good idea to try out different ways of doing it and see what gives you the sound you are after. [/quote] From experience of the amps that I've used, I've never had it work how you describe. Though I do agree that amps can vary on how the loop works. I've never gotten an auto wah pedal to get any response on a loop, but the best thing to do is try it (you could always put a boost pedal first in the line. If it works, good, if not, then try something else.

[quote name='pete.young' timestamp='1489313658' post='3255874'] Effects loops normally run at line level voltage and are intended for studio rack effects. This is a lot higher than the instrument level voltage that most pedals are designed for. Some pedals cope with this, others don't. Unless you know the pedal can handle line level voltage, the best place for it is in the signal chain. [/quote] This. At least for SS amps. If you're using rack fx, then use the loop. If you're using pedals, then don't use the loop. Some pedals are fine in the loop, but usually dirt & modulation don't work so well on the loop Some amps have switchable fx loops to be pre/post EQ and series/parallel (Markbass are one).

+1 for d'Angelo. This track is great fun to play too. http://youtu.be/m4XI6LXCsH8 & as you're just getting into Hip Hop, Go & have a listen to some Trip Hop. Massive Attack & Morcheeba are 2 good bands to start with.

Being in an "originals" band, my fave is one that has a particularly groovy bassline which starts with a wee incidental slide from A to B & runs up the scale & part way down in a rather funky fashion. The other band I'm in is a worship band, where the set list changes every week.

I immediately got EDM too. But I've got an idea that might fit the pic.

Here's a wee Q... In a 4x10, if you were to put a low pass filter on the 2 drivers at one side, say maybe @ 300hz, would that improve the dispersion? I'm thinking along the lines of what Alex does with his 6x10, though not sure what his filter is set at or if he uses different drivers left & right.

Mine's probably the shortest rig list thus far. Band rig: Bass: Ibanez SR1000e Pedals: Korg Pitchblack Poly, PSK SDS3 & Boss CE-2 Rig: Radiovox Valve amp > EBS CL410 Church rig: Ibanez SR1000e Pedals: Korg Pitchblack Poly Rig: Apple earbuds. To think, a couple of years back that list was much different.

[quote name='PaulGibsonBass' timestamp='1487983400' post='3244897'] I'm an intelligent, educated man. However I find this whole impedance / ohms thing utterly baffling. I'm new to the whole head / cab thing, surely there's a way I can get my head round it? I can't be that complicated? [/quote] Ohms go down, not up. If you put 2 8 ohm speakers on an amp, it makes a 4 ohm load. Two 4 ohm speakers make a 2 ohm load. If you put an 8 & a 4 ohm speaker on an amp, you then are adding a 4 ohm and putting @ another load on of 8 ohm, which brings the load to 2.66. Most bass amps will go down to a 4 ohm load , but some go to 2 ohm. The more load you put on the amp, the more power, the more power, the more watts at full volume, the more stress you're putting on the amp's electrical circuit. Using more watts doesn't necessarily mean things are going to be louder, that part is down to the cab(s).

I didn't know they did a 500w head.

[quote name='Danuman' timestamp='1487883000' post='3243931'] Yes, of course the neck pickup sounds a little fuller, however, that extra sonic information only makes the amp start clipping earlier. Besides, I don't really want to limit myself to playing only with the neck pickup. The addition of a bridge pickup is the best thing about a Jazz in the first place! [/quote] Set the bass to get the best sound for you whilst the band's playing (that might already be what you've done). If it involves having more neck & a little less bridge pickup & the amp is clipping, turn the preamp gain down & the output up (that's what they're there for).

[quote name='Handwired' timestamp='1487853285' post='3243530'] Ah, so your using both pickups on the Jazz, that explains a lot. When it's just you and the Jazz , both pickups sounds the best, but with the band, the neck pickup on it's own is way louder and has stronger low mids. [/quote] My bass isn't a Jazz, but has a PJ config. I always find the neck pickup has a much better low end. I blend the bridge pickup in very slightly if I want a touch more honk.

If I joined a band & they didn't like my bass on how it looks, I'd have to leave unless there was funds to buy a bass that suits. I play an Ibanez SR1000. I started out playing it in a metal band back in the 90s, played it in various rock & blues bands, went on to play it in a folk band (with synth bass fx on it) & now play in a funk rock band as well as the church worship team. Always gets complimented on tone too!

Mine's probably Billy Sheehan. Amazing bassist, but I've never been keen on his bass tone. It was from watching him & reading Talas transcripts that I learned a lot of techniques. The bassist that got me into bass is everyone's fave, Adam Clayton. I just loved being able to play something cool on bass after just a couple of weeks from purchase when I was 13 (that was 33 years ago).

There's also the Presonus iOne & iTwo, which comes with Presonus One DAW. I tried Protools express before getting Logic. Fine for recording actual instruments, but if VSTis are your thing as well, it's a pain in the stench trench. Deleting Protools is a bit of a process too. Reaper is probably the best of the free/budget DAWs. I was in the same position as you. I ended up getting a NI Komplete Audio 6 as it was on offer & then treated myself to Logic (which has possibly been the best £150 investment ever).

[quote name='Bigwan' timestamp='1487687191' post='3241828'] 80% of degree educated electronic engineers can't spell in my experience (18 years in the industry). Don't even get me started on their grammar! The younger they are, the worse it gets. [/quote] I'm hoping you did mean "grammar" if you yourself fall in that 80%!

If it's a covers band that stick to the same formula as the original, then you can get all the practice you need at home. I'm in 2 bands. The first is an originals band. We practice 1-2 times per month & are soon to do our first gigs (songs are finished). I practice my parts at home as well. The 2nd band is a church worship band, where I play about 1-2 times a month (there's 4 bassists that rotate & with me being 45 miles away, they don't call on me for every 4th bassist). There's a team night once a month where they spend the whole night running over a new song & talking about the arrangement. The only practice I get is at home & often he songs are in a different key from the original (so in to Logic the song goes & I pitch shift). 2-3 days before the service we find out what songs we're playing & what key they're in (1/2 of which I've probably never heard) & every now & again I'll get a text during service to say something like "let's play xxxxx in Bm to close the service". Last time it was a song I'd never heard before, but they WhatsApp'd me a chord chart & they played just the chords on keys whilst the Pastor was closing (let me hear the tempo & feel). Playing in the worship team is a lot of fun. They're all great musicians & the challenge of learning songs very quickly is awesome.

I had the previous version, the LMII & loved it. Plenty loud enough for my loud blues rock band at the time & it was in 2x10 arrangement.

If you were using an active bass or higher output pickups, then you might find you don't need to have the master as high. On the other hand, if you use a different passive bass, you might find you need to turn it up further. The amplifier just amplifies the signal that it gets. So if it's not an overly powerful signal to start with. You could increase the input gain to clipping. Just use your ears (well, one ear for your IEM & one for your rig).

If it sounds bad, you can always do a bit of reverse engineering & get drivers to suit the cab dimensions & then build another 2x10 cab that suits the spec of your eminence drivers. Then sell one of the cabs at a good price to cover the cost of both builds.

I wasn't suggesting that the idea of porting or working with the cab was a bad idea. I was just doing one of my car analogies. I had one of those Rovers. 3.6 V8 that went like stink.

I think what Bill is saying is that it's like sticking a Ferrari engine in a Rover. The Rover might hold the engine, but you're not gonna get close to it's full potential. Yes you can then modify the Rover, but it's still not gonna go like the Ferrari.