thodrik

[quote name='BigRedX' timestamp='1359905562' post='1961842'] Which is why I never ever play sitting down. My biggest bugbear about this is rock guitarists who sit down to record their parts in the studio. You don't sit down on stage, so why when you are recording? It saps all the energy out of the performance. If you can't play the part standing up well enough to pass studio scrutiny then IMO you need to practice more. [/quote] They are only sitting down because they are exhausted after waiting 6 hours for the drummer to get a half-decent take.

[quote name='shizznit' timestamp='1359296592' post='1952596'] I had one and part-ex it for a Hartke rig. I was happy with the amp, but wished I held onto it. I have seen them on Ebay (U.S.) a couple of times going for good money. Rich from the 60ft Dolls and I bought one each of the only three in stock anywhere in S.Wales at that time (mine was black, his was tobacco burst and I was told that Nicky Wire bought the other one, but I have no idea what colour that one was). Rich told me a few years ago he is sure he smashed his up, which wouldn't surprise me. A great bass and if I had any idea back then how valuable it would be today I would have kept hold of it. Oh well! I have always hoped that Fender would reissue that model. I'll be first in the qeue to buy one. [/quote] They are bound to reissue it eventually. Maybe as a limited edition 30th anniversary or something. I think that their limited supply will make them a collectors item, but it might take another 20 years before it happens.

It depends. If I've put on a bit of weight I might raise the bass a bit, as stretching for the fifteenth fret can be a tricky with love handles. Normally though, anywhere between the crotch and belly button and I'll probably be fine.

I think there was a thread about this a while ago. The range of comments included: 'probably will be overpriced' 'probably not as good as a 400+' 'a bit uglier than I expected actually' 'they are going to awesome' 'I'm totally getting one' 'Why don't they just make a 600 watt Walkabout?' 'When are they going to be released?' 'I wonder what they would sound like when paired with a Barefaced?' 'Don't bother, get a Matamp'

[quote name='Chris2112' timestamp='1359790634' post='1960295'] And what type of music would that be? [/quote] Certain types of stoner/psychedelic stuff. Tuned-down rickies with large strings are very common. Mostly they are tuned to about C to be fair, but I've also seen them being played down in A as well. Same concept though, lowest four strings of a five string set.

No problem whatsoever.A Rickie tuned to B is almost par for the course in certain types of music.

You are never too old for nice gear.

Its alright. Its good to see Mr Newstead back. I've never been a fan of the 'riff really fast on open E/Eflat minor' thrash, but for what it is I don't mind it.

Generally I find the aluminium cabs to have too much 'zing' to them. I do rate the amps highly though, especially the LH500 and 1000 amps.

The guy talking is pretty good as a salesman type. Plus Doug Wimbish is also always fun to watch. I love his style, a cool mixture of good technique, mixed with a bit of 'screw it, I'll just hit this thing hard' style. Interesting pedals too.

Since the age of 12/13, my standard set up has generally been '300 watt into 4 ohms amp played through 1x15 cab/combo'. I have had 1x15 and 2x10 Trace Elliot cabs for the last 4 years, which I can use for stacking. However the cabs stay in different rehearsal studios so generally I'm only using one cab at a time. I would love a single 'big' cab like a 2x15, 4x12 or 8x10, but money, lack of space and common sense are a constant problem.

[quote name='BigRedX' timestamp='1359212595' post='1951655'] But is balanced tension actually desirable? [/quote] Honestly when it comes to standard tuning, I really don't care that much and I'm happy to stick with a 105-45 set. I think it is better for heavier gauge strings or five string sets. I generally find 110-55/50 sets to be a bit 'unbalanced' in the sense that the high 'G' is too heavy and the low 'E' is too light.

My Sadowsky Metro is made in Japan and the quality is as high as any of my other instruments. I think that previous comments from BigRed X have pretty much nailed why we don't see too many of the Japanese brand 'Super Fender' basses for sale in the UK

'Boner' Fender Jazz basses. Sadowsky NYCs when Roger Sadowsky was in charge (he will retire eventually) Wals, any period. Rickenbacker 4001s Through-neck design Vigier Arpege basses.

Nice.

[quote name='Gust0o' timestamp='1358641315' post='1942835'] I think that a few are guilty of that sin, mind. [/quote] Looking at my collection of pedals, probably most of them!

Didn't Trace Elliot go through a period of using Fane speakers as well? On the topic, different cabs will have different dimensions, tunings, types of wood, quality of construction and finishing materials like screws, vinyl etc. The speaker is only one component in the sound of the cab, albeit an important part. I'm not an expert in cab construction but that would be my general viewpoint anyway. Trace Elliot amps and cabs are also easy to find and trade on the second hand market for several reasons: 1. There are loads of them about from the 80s and 90s when Trace Elliot had a strong market presence. 2. They tend to be heavy and not desirable for those looking for a lighter rig. 3. They are not actually very cool at the moment. 4. They tend to be cheap because of reasons 1, 2 and 3 5. They are generally good quality products and thus a good option for someone who wants to put together a half-decent rig for a few hundred quid.

[url="http://www.daddario.com/balanced_tension.page"]http://www.daddario....ed_tension.page[/url] It seems that with all their string tension guides that this product line was inevitable. The 50-120 set should be pretty good for those wanting to tune down to D standard or Drop C if nothing else. Hopefully they aren't priced at a silly level.

He isn't a great player technically, but he is very distinctive. I would maybe be interested in hearing why he approaches bass in the manner he does. In many ways that is more interesting than attending a 'look at this guy slap, pop, tap and generally play lots of notes. 'Masterclass' though? I doubt it, but that was just a word given to the event, rather than a true indication of its quality. Rather like going to a sporting contest described as 'professional football' in Scotland.

[quote name='chrismuzz' timestamp='1358456347' post='1939681'] £150 for a basic distortion pedal with a tone knob and a bright switch, and no blend? Come on! [/quote] I must admit, that was just about my first thought and I like Zvex products.

It looks like it is the drop D equivalent of playing in C standard. Plenty of bands have use it without sounding like a complete inaudible mess (though that is open to subjective interpretation). I'm pretty sure that the Red Album by Baroness is in that kind of tuning. Kylesa play or played a lot of stuff in Drop A, as do Mastodon (though its basically D standard with a low A instead of a D). In terms of set up, I'd imagine that for drop C you are using fairly hefty strings (115/120 on the low C) anyway, which would probably 'do' for trying a few songs in drop B flat in order to tell if the singer can sing at all. If the singer works out, then permanently change your set up. Or just transpose a couple of your songs into different keys in the drop C sharp tuning, in order to work out if the singer can sing at all. Or get some light strings and tune up to F standard, so you can play an open A string as the root B flat that I would imagine the guitarist will probably play off a lot of the time. There is nothing inherently wrong with low tunings, though they also don't necessarily make the music any 'heavier' just by being lower. Don't assume that you always have to copy the guitar tuning. Think about how you personally want to approach the music and proceed accordingly. If the other band members aren't giving you that freedom, consider whether it is the right band for you.

You would think that with the proliferation of 'cranked SVT' emulation pedals, Ampeg would have at least investigated building their own pedal in order to release it and try and reclaim that sound.

There is one on my Vigier Arpege. It works though I'm one the people who puts that much stock in bridge styles, so long as they work.

I think that they look nice. Play 3 or 4 and you might find the bass of your dreams.

[quote name='brensabre79' timestamp='1358249599' post='1935405'] I spoke to Marshall before Xmas as I was looking to try out and buy an Eden WT800. Basically they will not send stuff out to dealers on Sale or Return at the moment. They say that dealers are very reluctant to buy in stock knowing that they will be stuck with it (Eden stuff doesn't exactly fly off the shelves), also, most dealers suspect that aspart of the buy out they will be developing new products and releasing them soon. So the catch is, no dealers will buy in stock, so there's nowhere I can go nearby to try one out. I'm not about to buy an amp I have not tried! I said to Marshall/Eden rep that they should really consider sending some out SOR to get the name known again, but unfortunately they don't seem to keen to do that. I guess as Marshall is a household name they have never needed to do this. Personally I was put off by the fact that there seemed to be a large amount of indifference, from the music shop, from Marshall, and even from Eden US, who basically sent me back to Marshall. [/quote] That is hardly encouraging. I always thought that Eden had a 'distinctive' sound, much like Trace Elliot did/does. Part of me thinks that heavy MOSFET amps with lots of tonal shaping options are completely out of fashion in the current 'I set everything flat' lightweight amp craze.