Stub Mandrel

Probably @andytoad 🙂

I'm thinking of building a 4-ohm, 1x12 for dual use - as an extension (actually bypassing the internal 8" speaker) for my little orange Crush 25, but also suitable for use with something like a Trace Elliot Elf.. I'm afraid I like a somewhat bottom heavy sound... might the Beyma 212 be what I want? I've been pondering a 1x12 build for along time and been playing with Winlsd guided by multiple threads on this forum. I've found this thread particularly useful. Looking at a 60l cab ( a bit bigger than Phil's design, but bout what I want) tuned to 48hz, I get a max SPL of 120dB at 350 W (I wouldn't want to put quite that much power through it) and a single 8.2cm port gives a vmax of 17 m/s. At a realistic 25W this would give an spl of 108dB which I reckon would be enough for non-drummer situations and with a 250W amp 119dB would be enough for small gigs... So questions: 1 Do those figures seem in the right ballpark? 2 I recall from 'designing' 'hifi' cabs in the late 70s (armed with no more than library books and Radiospares recommended cabinet volume) that it was 'good thing' to make sure all the internal dimensions were different (and ideally not simple multiples of each other) to minimise extra resonances. Does this apply to basscabs in a meaningful way - I note that many combos appear to be almost cubes. 3 what do the jury say about wadding?

I sometimes worry such music places an intellectual exercise above musicality.* *Which really means some of those chords are outside my comfort zone...

We played 'I'll be there' the other day. To be fair, it's a really good bit of songwriting with some creative changes.

I remember seeing Haze in the 1980s (it was one of our Aberocsoc gigs and because I was helping run it I recorded it off the mixer 🙂 ) They made excellent use of a set of bass pedals and it was the first time I saw how it was done. While you can go really fancy I've always fancied a set just for pedal notes (sic) under the bass line. Awesome. Haze still gig occasionally I really must get to see them, it's only been about 38 years 🙂

Out of curiosity what settings did you use?

Ohh. Can't agree there...

LOL I was just starting to cook when I got a Dyson ad. It sucks!

Curious. I tried playing along to an OGWT video of Dire Straits doing Sultans yesterday and it was about 1/4 tone sharp - as if it had been edited to fit exactly in 5 minutes, but maybe they just tuned to each other, after all this was long before clip and pedal tuners ...

I want to be able to play more of this than just the intro and chorus 😞

Shabby Chic.

That kind of feels as if Not the Nine O'Clock News did speed metal...

Thin polyuerethane rubber gasket, some basses come fitted with one.

Most basslines seem to be one or the other. For example the typical blues-rock bassline tends to use notes in the key associated with the current chord, typically by moving a riff around following the chord changes, but even if it has a lot of variation or uses the blues scale etc. (e.g. Can't Get Enough) On the other hand 'non-bluesy' walking lines seem to stick to the original key as well as fitting in with the individual chords (e.g. Sunny Afternoon).

I saw a blue metallic J yesterday and thought of you 🙂

Send for the immodium! Ricky's got the pentatonic runs!

That would explain the 'Gibson' style spacing...

There's no better way to learn than from other musicians. Even rote copying improves your technique, and it's hard to not to improve your understanding of music by doing so. I'm sure my technique and improvisational skills have come on in leaps and bounds since I've been learning lots of covers.

If you want to understand the theory, it's probably just as important to understand where the notes are in the key the song is in as well as where they are in the chord. So, playing a D over a G chord in the key of C. So the 'D' is the 5 of the G chord, but the II interval of the key.

I can do that! But I'm no Jaco... just long fingers 🙂 But I don't compete with other bass players, I compete with myself!

Are Gibson trademarking a new Guitar Power Pose? How long before they decide that standing legs akimbo with your instrument angled upwards is an infringement?

No, they've just sat together in my mind for decades for some reason. Perhaps it's just the melancholy mood and droning style.

Rumour has it that Gibson have backed out of suing Guild and Gretsch for their use of tha capital letter G. Instead their lawyers have filed a suit against Nestlé, quoting Golden Grahams., As these can be more easily be confused with a gold top Les Paul.

There's a world of difference between Oysterband & June Tabor and some angst-ridden teenage singer-songswiper.

No, it's really good. And I love the original. P.S. does anyone else detect a similarity between Love Will Tear Us Apart and Is Vic There by Department S?