thodrik

This is why I am cautious with my old Trace Elliot V6 with 2 and 4 ohm taps. I have seen Trace Elliot documentation saying that the V6 and V8 will run fine with an 8 ohm cabinet (which is just as well given that the matching 4x12 cabinets were 8 ohm). Given what little I know about valve amps it just doesn't make sense to me. Given how expensive the V6 is to repair and how little actual information there is on the V type line, I am not taking any chances.

This actually got me thinking. Most of the amp techs I really trust are in their 50s and 60s. I used to think that the ability to repair vintage amps would suffer when the supply of replacement parts, power supplies, tubes etc became more scarce. I confess that I totally forgot about the supply of people who actually repair them! Asking a tech 'can you fix my old Marshall JCM 800?' will be a lot more difficult in 20 years time than it is now.

Frantic by Metallica. It is great for about 1.5 seconds until the first snare hit.

Agreed, I am sure that there are some naturally right handed people who would be more suited to playing bass guitar left handed as well but are never advised that this is a possibility and never get the chance to try it out. In terms of my assumptions to treat right handedness as a default, this is more down to practical realities rather than a teaching ethos. When I was growing up there were not a lot of left handed basses to try (or left handed violins...). The only ones in school were right handed, so if you wanted to play bass (or generally any stringed instrument) you either (a) played right handed or (b) played left handed with the bass turned upside down. Ideally any prospective player should have the opportunity of trying a left handed and a right handed instrument to see which one comes more naturally to them. In practice that is not always possible, so statistically most people who try a stringed instrument will initially try it out right handed. That is how I started violin, bass and double bass. A tutor who doesn't make assumptions as to handedness would have been welcome at the time, as would the option of actually trying to play the instruments left handed in the first place. Would I have ended up playing any of the instruments left handed? I really don't know. Would I have ended but being a technically better player as a result? Honestly, I don't think it would have made any difference whatsoever.

I think we are speaking in similar terms here, given that my subsequent sentence to the sentence you have quoted is: "If the player thinks 'this is all wrong and I hate it' then this becomes apparent pretty quickly (usually within a few moments of picking up the instrument)" To me that is the equivalent of your suggestion of 'carrying out a basic check right at the start'. I'm certainly not in favour of an automatic 'you must play right handed because that is correct' approach. Particularly when one of my favourite bassists plays left handed but with a right handed bass turned upside down. However, I am also not in favour of a 'you are left handed so you must automatically start out left handed' approach. I suffered that approach growing up when I was actually pushed into doing things 'left handed' without any thought or consideration as to whether I would be better suited doing things the right handed way. All in all though, it just turns out I am equally rubbish at bowling, tennis, boxing, golf and playing drums irrespective of whether I approach the disciplines with a left handed or right handed approach.

I am left handed and play right handed. However not all left handers are alike. Some people are very left-handed to the point that doing anything 'the right handed way' feels like an unpleasant and alien experience, some are ambidextrous to the point that they are essentially right handed but choose to write with their left handed. In terms of the sliding scale, I am definitely towards the latter. I think that the 'left handers should play right handed' view (or stigma) comes from bowed string players or musicians who have grown up in an environment amongst bowed string players in symphony orchestra seating arrangements. Most orchestral violin/cello/viola players play right handed even if they are naturally left handed. Playing left handed results in the bow going in the different direction to right handed players and leads to potential awkwardness with regards to bowing space, which can be an issue with a crowded orchestra on a small strange. I was poked in the eye by a leftie bow on a few occasions growing up... Left handed musicians should be able to play in orchestras and some do, but it is a small minority compared to the amount of people playing in orchestras who are naturally left handed. Taking an 'you are left handed so must automatically play left handed' approach from the start is not something I would necessarily endorse. Personally, I think that it is worth starting out getting left handed people to play right handed in the first instance. If the player thinks 'this is all wrong and I hate it' then this becomes apparent pretty quickly (usually within a few moments of picking up the instrument). The fault is then on the teacher not noticing that the player is not enjoying the experience and would be far better suited to playing left handed. This really shouldn't be an issue on bass guitar though, given it isn't an instrument that is going to be used in an orchestra in large numbers anyway.

http://stringtensionpro.com/ D'addario have actually recently launched an app to replace the string tension chart PDF. I have been using it lately and it is utterly marvellous. Simply find out the tension of your favourite 'standard tuning' gauge (in my case, 100-40). Then simply insert your preferred 'alternate' tuning (in my case C sharp standard aka 'Sabbath tuning') and then work out your preferred gauges from there by approximately matching the tensions. The app even works with fanned fret designs as you can set the scale length for each string. No more mental calculations from the PDF! For what it is worth, for drop C (C F C F) I use a gauges of 120, 90, 67 (70 will do) and 50. For a low A string under that, I would be looking at 145 at least, probably tapered. However, both of the OPs basses have longer scale lengths than my 34 inch scale basses. With the fanned fret design of Dingwall, I would suspect that you would not need to use as a large a gauge as I do. For the Spector, any standard Five string set with a B string of 135 would probably achieve a good solid low A.

That is gorgeous! Looks like an almost satin finish rather than a gloss finish? I love it. Also, I see that it has got the big high mass bridge like on the Excess models. When the new line of Passions and Arpeges were first launched back in 2009 or so, they all had monorail bridges, i.e. a tiny individual bridge for each string. My Arpege has monorail bridges. I much prefer the big single bridge though (trying to clean and getting rid of dust in between the monorail bridges is a pain!). Wonder if that is now the standard Vigier bridge replacing the monorails?

Nice, does that have Benedetti pickups? I think that the earlier neck through Passion and Arpege models are really state of the art instruments, even more so than the newer bolt on models with Delano pick ups. Not that there is anything wrong with the newer models, they are still great too (I own a bolt on Arpege five string). I already have an Excess and Arpege, so the Passion is the only one left for me to get to obtain the full Vigier set...once I have the funds...

Yes, not the types of amp for people that think that 'all settings to 12 o'clock' is correct and that EQ should only be used to suit the room. I like those types of amps, but the V6 is not one of them.

I think that the CTM is a passive tone control EQ, so 'flat' response something like bass, treble and mid settings at '2-10-2' rather than the 'all settings at noon'. I would accordingly start on the 2-10-2 setting and work from there. Also, the gain and master settings are essentially another layer of EQ, as some EQ settings will sound great on one gain setting but sound horrible on another at a different volume. The settings and features on the CTM are eerily similar to those of my Trace Elliot V6. On the V6, if I dramatically change the mid setting it can also change the character of the bass and treble entirely. It sounds like it might also be the case with the Ashdown. On the V6 I find that the best tone is to just ignore the 'Bright' and 'Deep' switches altogether. With the V6 it is pretty much trial and error for me. It is either the 'charm' of an all valve amp, or evidence of why smaller lightweight 'flat response' amps are now so popular!

Best: Mesa Big Block 750 . I had wanted one for over ten years, but could never afford one and by the time I could they had been discontinued. Not an amp for those that need a clean, flat response or really clinical EQ settings, but for driving rock bass tones, it is brilliant. The amount of gain on tap on the overdrive is brilliant. I had a big clear out at the start of the year to fund the Big Block and a really guitar amp (a Mesa Single Rectifier). Most pleasantly surprising purchase: I have been using the D'addario balanced tension 120-50 set for gigging since they were launched around 2013. I have recently decided to make up my own set of Elixirs using the same gauge as I am going through so many sets of the D'addario when gigging, rehearsing and recording. I must confess I think that the Elixir strings are absolutely brilliant and they are not dying on me as quickly as the D'addarios. Over the long term it should save me money. I am going to switch my five strings over to Elixir as well. Worst: Darkglass Alpha Omega pedal. Great pedal, but the Big Block now pretty much does the overdrive/distortion sounds I need without me needing another pedal. Is it sacrilege if I say that I actually prefer the B3K/B7K drive circuit? I probably won't move it on, but it isn't really getting used at the minute. Should have bought years ago: Purchasing a replacement Babicz bridge for my 1974 Gibson EB3. I had resisted buying a replacement bridge for years on account that getting rid of the original bridge would devalue the bass. However the 3 point Gibson bridge is worthless so it had to go. It took me ten minutes to fit the new bridge with no additional routing needed and I can reinstall the original bridge if I decided to sell it. I can now actually set the intonation properly for the first time in 18 years. It still sounds like mud, but a more in tune mud than previously.

I have one. The best cab that I have ever played. Also perhaps the most awkward to move cab I have ever played. Even saying that, it is definitely not a ‘flat response’ cabinet compared to a Bergantino or equivalent. It really is a heavy duty rock cabinet in my opinion. If you see one second hand you might be able to get it for a steal. With modern cab developments, most people really don’t want or need a cab of that size and weight. I didn’t either but couldn’t resist the chance to buy one at 1/4 of the ‘as new’ retail price. I wouldn’t buy one of the new lightweight cabs at retail price as I think that they far too expensive compared the accompanying amps, or cabinets made by competitors of a similar quality.

The outcome is actually even more underwhelming that I expected and I didn't expect much. Basically they have added coil tapping features on the HSS Strat. That is the only significant innovation I see in the whole guitar and bass line. The rest of the guitars and basses just feature features that are similar to the previous Elites. The standard, 'new' pickups (or rather newly named pickups), 'new and improved' compound radius and other features are pretty similar to features covered in previous years. They have also removed the truss rod wheel, which I believe is a considerable backwards step from the American Elite. In terms of the basses, I can't see any game changing improvements. The 'redesigned' preamp is probably the same preamp that is 'redesigned' every year. Unless the neck carve is something to die for I really can't see this being a massive success. I mean, since Fender now have a Flea bass, would it have killed them to have designed a Jazz bass with the humbucker in the bridge position, with perhaps a coil split in the bridge? It would hardly be a risky endeavour since that whole concept is something that Sandberg have been doing (to great success) for years. Fender had marketed the line as being game changing but this is a really underwhelming release. I say that as a massive Fender fan.

BBE Two Timer Delay. Got it essentially for free as a bundle when buying a guitar amp. It has been my go to delay pedal for those post rock volume swells since about 2012. I bought the TC Electronic Flashback to replace it but it sounds too 'clean' for me.

Three tone knobs I see, because Yngwie has more tone than anybody on the planet.

Hmm, a new name and some finishes I would think. I would guess that there is more innovation on the guitar side than the bass end and that Fender will develop some kind of 'Super Strat' incorporating high output pickups (the 'Shawbuckers' screamed like hell at higher gain levels) and a flatter shred radius, basically borrowing from their Charvel sub-brand. In terms of the bass side , I just expect a couple of different colours, perhaps a 'new and improved' compound radius and a bunch of marketing videos with some social media influencers.

Gorgeous. The Forte series is definitely my favourite series of Spector basses in terms of looks. The other ones a bit too bling for me. That finish is utterly brilliant.

In terms of a bass based on designs I already have: Vigier Excess, but with the Vigier Arpege pickups and EQ system. Figured walnut top. I would also have two of them to fit my two opposing musical interests. One strung with light 100-40 strings for funk and tappy chordy folky stuff, one with 120-50 strings tuned to C sharp for Sabbath and fuzzed out doom. I would be a happy fellow.

Never had a signature bass but I own a Gibson Les Paul, which is a signature in a way. However, I did buy a Gibson EB3 when I was 15 purely because I loved Jack Bruce and Andy Fraser. If I could own any signature bass it would be the Warwick Jack Bruce Cream Reinion bass. That was a real stunner of an instrument. But the price...

My one from the same(ish) era. It was in mostly great nick when 13 year old me got it in 1999 for a bit under £400. Previous owner cut the pick guard into two, presumably to allow for easy access to the jack socket. I resoldered the connection when I got it, not touched it again since. The lacquer has really started to come off the neck the last few years. I don’t think I will get it refinished though as I’m frightened it would ruin the feel of the neck or the person doing the refinish would make a mess of it. Honestly, this is my favourite bass to play even ahead of my other basses. The shape of the neck is perfect for me. I don’t know exactly would carve it is but, but I actually prefer it to the neck carve of more modern Precisions, as well as my Sadowsky Metro Jazz. Generally retired it from gigging though as the Sadowsky is so much more reliable at this point. The wear and tear I have added has ruined any potential resale value. However I will never ever sell it anyway and it’s not like it is a 60s Jazz. Finally the weight, 9lbs 6oz. So pretty damn manageable for me.

I have a Precision in the same finish from a similar era. Your bass is looking a lot nicer than mine! I will try and take pics when not at work. Mine is an S9 serial number which means it could have been made from any point from late 1978 to sometime around early 1981 (I have never bothered really researching the exact date of manufacture beyond that). I have owned it since 1999. My Precision isn''t too bad in terms of weight. Maybe 9 and a half to 10bs. I have never weighed it but it isn't appreciably heavier than my Les Paul which is about 10 pounds and it is much lighter than my Gibson EB3 which must be around 12 pounds. I don't have a thumb rest or pick up covers though. It has probably lost weight on account of bits falling off over the years.

This for me as well!

If you actually remove the vocals altogether (Hetfield and Reid), I actually think that it is one of the better mixed Metallica albums in terms of the balance between the instruments. The bass is audible and the kick drum and snare drum do not utterly dominate the mix to the point of making the album painful to listen to. Instead, it is the vocals, lyrics and general album concept that makes the album painful to listen to.

I will get my copy and paste fingers working later on.