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Beer of the Bass

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Everything posted by Beer of the Bass

  1. It's just that they're popular with a particular style of US gospel player, isn't it? Musical genres are affected by a players background, and instruments often develop a genre-specific following, so it's not really that odd that they have that association. I saw an interview with Cordell Mosson (from Funkadelic) where he mentioned getting some stick from his bandmates for playing a Rickenbacker as it was deemed to be a Rock bass and not suitable for Funk, so genre stereotyping of instruments is not a new phenomenon.
  2. Maybe the wording on the website isn't great (the "military grade" and "point to point" bits ), but I don't see anything resembling sub-par wiring in this gut-shot IMO. [url="http://www.jaguaramplification.com/i_guts.html"]http://www.jaguaramplification.com/i_guts.html[/url] It may not be built in the Military/Hiwatt style of lead-dress, but the chassis pictured on the website looks well built in a Marshall-esque construction style. If an amp is readily servicable and the layout doesn't cause noise or stability problems, then it is fit for purpose. As a DIYer I have built less tidy looking amps than that which have worked flawlessly, so I'd say the Jaguar looks like a nice amp. The issue of carbon comp versus metal film resistors often seems to open up a can of worms on amp forums. I use metal film in my own builds but there are plenty of very experienced builders who will choose carbon comp. Metal film resistors drift less and are less noisy, but there is a measurable distortion from carbon comp resistors which will affect the sound - it's debatable how audible this is, but some say they prefer it. The article below describes this quite well. [url="http://www.geofex.com/article_folders/carbon_comp/carboncomp.htm"]http://www.geofex.com/article_folders/carbon_comp/carboncomp.htm[/url]
  3. Very cool! It puts me in mind of a Stroh violin built on the scale of a dub system bass bin.
  4. The leather is probably no thicker than many modern poly finishes, so if it sounds fine, why worry? It does look very cool, and I bet it feels good too.
  5. Could it be that high-impedance passive type pickups usually have a peak in the response somewhere in the upper mids which makes the attack more noticeable, while pickups which are lower impedance like many "active" designs tend to have a flatter response which sounds more polite?
  6. I've got a new overdrive pedal in the works, so I'm clearing out some of my older DIY builds to fund the parts. These are pedals I built for my own personal use, so they have been gigged and have proved to be reliable, even if they are not built to boutique standards of neatness. Both pedals are true-bypass, with red LED indicators, in unpainted diecast aluminium cases. On the right is a bass overdrive built from a kit with PCB, the Hjart Muller Bass Drive from Moodysounds. Here is a link to the ready-built version; [url="http://moodysounds.com/index.php?main_page=product_info&cPath=2_36&products_id=12"]http://moodysounds.c...&products_id=12[/url] This is a really nice sounding, moderate gain overdrive which gets into JJ Burnel and John Wetton-esque territories, not a full-on fuzz. It's an opamp based overdrive with diode clipping, similar to an Ibanez Tubescreamer but voiced for bass. Note that this was built to go on a pedalboard, so it does not have a battery clip - it needs a power supply. £30 posted in UK. On the left is a pedal based on the Anderton Tube Sound Fuzz and Way Huge Red Llama designs which is probably more at home with guitar than bass. It is especially good with single coil, Fender-ish guitars This is an overdrive based on a FET inverter chip, which provides a very transparent drive at lower settings with a raw grittiness about it. At higher gain settings it gets quite fuzzy. This one is built on perfboard and can be used with a battery or power supply. £25 posted in UK. [attachment=113100:101_0205.JPG][attachment=113101:101_0207.JPG]
  7. I've just had a listen, without checking which amp was which until the end. My clear favourite is the Marshall JCM800, closely followed by the Hiwatt. The rest are too dirty in the lows on the "clean" clips, or too thin in the case of the Orange. The treble on the Orange sounds quite good with the passive bass on the dirty clips though. I also enjoyed the sound of the JMP, a very recognisable late 60s/early 70s sound with that sort of throaty roar, but it's not what I would choose for my own band. With the arbitrary control settings used, it's impossible to say which would be my favourite if I could actually try all six though.
  8. I'm almost certain this is the one I sold a while back. Certainly the Chromes flatwounds, Hipshot and the tort guard thrown in would match with my old one. The buyer was new to bass, so I guess he didn't really take to it. It was a really nice bass, and I regretted selling it quite a bit - If I had the cash lying around I'd give him a call!
  9. Cheers for the input on the Lakland/GHS flats, redstriper and WOT. From the sound of it, there probably aren't many strings I'd like better then the EBs or Chromes I've got at the moment. Which is actually a good thing, as it means I can stop thinking about strings for a while.
  10. The finish on mine has a slight Artex vibe about it, but is evenly applied and seems very tough. Mind you, my cab was a prototype rather than a production model so I'm not sure if it's indicative of what you get with a new one. What looked like scuff marks after doing a few gigs turned out to be bits of paint which had scraped off door frames etc, not damage to the cab finish. It does have a different look to tolex, but to my mind stage gear is built to be seen from a few feet away, so it doesn't bother me.
  11. Does the dull sounding no-name cab have a tweeter in it? I've played through a few tweetered cabs where the crossover frequency is set too low for the tweeter to work properly, leaving a hole in the upper mids that EQ can't fix. If your cab is one of these you might want to try ditching the tweeter and crossover and running the full-range signal to the 12". It might or might not help, but it would cost nothing to try. I'm enjoying the tunes on Soundcloud, by the way!
  12. [quote name='wateroftyne' timestamp='1340995439' post='1712728'] [url="http://www.lakland.com/direct/merchant.mvc?Screen=PROD&Store_Code=LD&Product_Code=JOSF4&Category_Code=4STRS"]Here you are.[/url] Don't worry that you're buying from the US - they arrive in about a week, and you don't have to pay any duty. [/quote] How do the Laklands compare to others flats like Chromes, EBs etc? I'm using and enjoying Ernie Balls at the moment, I've also tried Picato which were too dark and thumpy for me, TI Jazz flats which were nice but a little too soft feeling for my playing style, and D'addario Chromes which seem very close to the EBs.
  13. You're not on any medications, are you? My other half was briefly prescribed Carbamazepine for epilepsy, and there's an occasional side-effect where it messes up pitch perception.
  14. And Roger Ruskin-Spears' amplified Trouser Press!
  15. [quote name='BigRedX' timestamp='1340971092' post='1712217'] For the synth-rock band I played in the 80s it was the starting point for most of our substitute guitar sounds. [/quote] Oddly, I have a friend who did the same with a DX7 into one of those little Boss half rack multi-FX. To this day he's still proud that he got sacked from one band for sounding too much like a guitarist.
  16. If you've got a crossover and tweeter, It'll complicate matters as crossovers are designed to work with a specific impedance. If you connect woofers wired at 2 ohms to a crossover designed to see 8 ohms, the results may be all over the place, so you may have to sacrifice your tweeter and run the 10"s full range if you want switchable impedance.
  17. [quote name='fretmeister' timestamp='1340870715' post='1710647'] Just a thought - anyone know if a non-compliant amp would pass a PAT test these days? [/quote] ROHS compliance wouldn't affect PAT testing, since the PAT is mostly about safety stuff; earth continuity, polarity, insulation and a visual check for damage. ROHS regulations are about environmental protection during manufacture and disposal, not safety in use. Plenty of older, pre ROHS equipment still passes PAT tests.
  18. [quote name='heminder' timestamp='1340748125' post='1709219'] I've only had one lead go funny. Interestingly it broke because the little plastic between the tip and the sleeve vanished somehow. [/quote] It wasn't a Warwick Rockcable, was it? This is exactly what happened to mine...
  19. Axesrus had one, but the shape is a bit different to the ABM. [url="http://www.axesrus.com/AXEBASE.htm"]http://www.axesrus.com/AXEBASE.htm[/url]
  20. Result! I'm usually one for leaving dings as they are, but it's a different story when they're on the back of the neck and you can feel them everytime you play.
  21. Sounds like an interesting one! I bet I'd have recognised a few faces there. I've played events with a similar crowd a few times, and it's always a hassle in terms of organisation but a fun audience once you're actually playing.
  22. The way I've seen it done is with a soldering iron, so hot enough for the water to steam but very localised. Sort of like this: [url="http://www.frets.com/FretsPages/Luthier/Technique/Finish/SteamOut/steamout1.html"]http://www.frets.com/FretsPages/Luthier/Technique/Finish/SteamOut/steamout1.html[/url]
  23. If the wood is dented in rather than scraped out, it might be possible to raise the dents using heat and moisture. I've watched my brother (a guitar builder) raise similar dents using a bit of wet cloth over them, heating quickly with a hot soldering iron, to the point where they were barely visible. A bit nerve-racking though!
  24. The only time I've noticed not having enough sustain is on a dead spot. Unfortunately flatwounds seem to bring them out in basses where I don't notice them with roundwounds.
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