Mog

[quote name='Ghost_Bass' post='853909' date='Jun 1 2010, 06:12 PM']Remember the fender is 100W but it's cab is 4ohm. The TE has an internal cab at 8ohm and alows a extension... is just putting out near 80W! The full 150W (i thought the combos were 130W and the AH were 150W but i could be wrong...) moves so much air that it could knock the fender to it's back! [/quote] I've pushed a 4ohm 1x15 with my 150 watt head and it wasn't as loud as the rumble. Thats why I use a 4x10 now, 25 extra inchs of push. If its a big venue, say 600+ heads, I stick another 4x10 on the guitarists side of the stage. Dont get me wrong, as I said earlier, TE gear is superb but if the fender still isn't doing the job then a lot more juice is needed. Honestly, the rumble range is just about the best thing I've come across in years. In a gigging year I might play through 30 different bass rigs. Most of the big brand names turn out to be crap. So far i'd have the rumble ahead of the majority of Mark Bass gear, all of the Ampeg B series heads and anything with blue speakers. 2x10 150 watt combo retails at €212.99 over here. You wont find a better new amp in that price range.

[quote name='SteveK' post='853904' date='Jun 1 2010, 06:08 PM']Have you tried your Yamaha through another rig? If so, did it sound better? Have you tried another bass through your rig? Was that ok? Does the bass sound dull acoustically? Need more info to nail the problem. Not sure why you would think the pots on you bass would effect sustain.[/quote] No. Normally use the wick at shows. Yes, the wick sounds great Unplugged sounds like any other bass I have. Pots were changed because it was due its 5 year service.(I sweat a lot on stage, trust me its not good for electronics) All my basses get an overhaul every five years. Bad pots = bad output = rapid note decay. Silddx: explain

Nice! Here comes the GAS :brow:

Sorry, missed the bit about your 100 Fender. If its a Rumble 100 its probably as loud as a 150 watt TE head and 1x15 cab. The Rumble is a serious bit of engineering. Love em to bits. Seen them go toe to toe with two guitar half stacks and ring through without issue. If your still too low I'd reckon jumping to 300 watts minimum power. I run a 150 watt Gp-7 Sm with a 4x10 and its just about right IMO.

Hi folks. Wasn't sure where to lob this one so apologies if its in the wrong section. I've noticed that when I use my Yamaha BB G5 into my TE the notes decay rapidly. Theres no comp/limiter in the chain and the volume pots on the bass are brand new.Strings are never more than 5 gigs old and still bright by most peoples standards when I change them. Totally stumped as to what the problem is. Eq settings maybe?? Anyone got a solution?

Ibby SR range. Start from about £350 I think (not up with the exchange rates at the mo). Serious neck and great tones.

[quote name='cheddatom' post='853269' date='Jun 1 2010, 09:03 AM']If you look inside there might be lots of un-used contacts on the bottom of one of the footswitches, you could just take the wires from one of them, and solder to the other.[/quote] I think thats exactly what the guy in COC does with his. Isn't the Morley auto switching ans spring loaded, ie, step on, step off?

I'm not going to say that TE gear is indestructable but I've never had/seen/heard of one crapping out. I've played 4x10 combos that had a dodgey input gain that wouldn't go past 1 that still kicked out more than enough volume. The only downside of the combo is the weight. Get casters!!!. Honestly, I'd take some of the older TE gear ahead of 90% of other brands new models. Loud and reliable. Very versitle. The next best thing is a SWR Redhead.

Root, 5th, and octave. Metalheads best friend! Dont be a typical bassist, ie, straight 8's. Do stuff they wouldn't expect and make the guitars follow you and the drummer once in a while. If you get really stuck in a rut just ask yourself "what would Mike Inez do".

Bright and metallic, lots of low mids. I dont like to be in your face volume wise. Anywhere just under the guitar mix suits me just fine.

[quote name='OldGit' post='847747' date='May 25 2010, 06:01 PM']Out comes the pitch shifter [/quote] [quote name='tauzero' post='847758' date='May 25 2010, 06:11 PM']And the half-second delay in the foldback...[/quote] Funny bastards!!

Could be an excuse to get a 5 string Jazz Pete! Onto the subject of soundmen, its simple IMO. The bass soundcheck is done when I say it is. 10 seconds or 10 minutes, whatever it takes. If its not right during full band check we go again. I try to have my amp settings ready before I start though which is easy if you've played the venue before. No matter how good the engineer is, he's still not a magician. It's up to the bass player to ensure he sounds like a bass player.

If any of you Irish BCers are around Limerick tomorrow (Sunday 23) pop into Baker Place for some low down and duurrty stoner rock. Usual beer promos etc. First band on stage at 5pm. Support from Dark Matter and Wardog. [attachment=50327:album_cover_eg.jpg] Session on!

My local music shop stocks Cort, Squire Affinity and Vintage basses. Priced a Squire thinking I'd get my brother a P-bass for his birthday, €240! Strings are either Rotosound, or Fame. D'Addario make an apperance occasionally. Went in once when I saw a pack of Warwick red label thinking I'd pick up a set for spares. €29.50. A return ticket to the nearest city is €10, a pack of red labels is €11 in most of the shops there.Do the maths. Recently a young guy I know who's only playing for a few months rang me from the shop asking if €38 was a good price for Dunlop RT sigs. Smaller music stores, especially ones in smaller towns with no compitition have been ripping people off for decades. Thomann and Music Store have great CC, great prices and you dont have to deal with snotty, up their own ass counterboys that seem common in most music stores over here. Long may it continue!

Hows the neck/body join? I'm always wary of set neck basses.

I run an Ampeg B410HE with my TE. Plenty loud at 150 watts. Then again I hate too much sound coming from the stage and prefer if FOH sorts out what is heard by the crowd.

Voted other. Are those inlays MOP or abalone. Match the guard to the inlays. Simples!

[attachment=49875:amp.jpg] Get one of these, Doc Browns 1x120 woofer. Seriously though, its all about finding a balance with the other two guys. Personally i try to sit just under the guitar mix and keep everything full. Too much bass in a three piece sounds gak IMO unless the line is one which follows the guitar note for note. A tight unit will sound better at any volume, than three guys at high levels trying to out do one another. Plus lots of engineers would kill half of your tonal spectrum with anything other than top range PA gear.

I've those moments all the time. Most common is plugging in to the output of my pedalboard and taking 15 minutes to realise!

Was gonna suggest britishaudioservice in the states but i say support your local talent

Big thumbs up for the blonde moment from me. Brightened up my day

[quote name='dood' post='833689' date='May 10 2010, 09:54 PM']Although, I have to counteract that by suggesting that some of the most unmistakeably great recorded bass tones from the past *have* come from some pretty shabby gear! JJ Burnell and his broken cones, Entwhistle's old cranked Hiwatts and the Ampeg B15 - brilliant for recording but far from hi end Only joshing of course - at the end of the day, boring as it is - if it sounds great, it is great! - Another example of great tone on a budget would be the Fender Showman / Alembic F1x / Trace V-type / BBE T-Max / Hartke LH preamps - dead simple, no flashy components - sounds absolutely magnificent![/quote] True, but if I went into a studio to lay a track with a beat up road worn rig that hummed and hissed every time someone in the next town turned on a light I would be letting myself down and wasting the time and money of my bandmates. If a bare bones tone is required then all you need is a P bass, a Jazz bass and a good DI. I reamp everything I record so I can find the best tone per track. The majority of tracks on our latest was played on my Yamaha, not high end by any means but everything was polished later through preamps/comps worth 10k+.Some of the production costs could have been cut if I used my higher end gear from the start. Modern recording gear is too sensitive. Anything that could cause unwanted noise is a no no.

Ibby's are great IME. I think the Rockbass Alien might be in your price range too. Some of the Wahsburn acoustics I've tried have been very good also. Tanglewood have a lot of models around that price too but I haven't come across any at the same standard as Ibby or Washburn.

Jimmy was the true genius in pumpkins IMO. His drumming was top drawer. Everything else is overproduced nonesense from Billly. Even Celebrity Skin sounded like a Pumpkins demo, as does the new Hole album. Suppose the point I'm trying to make is that BC has a template for a band and he's gonna stick to it. I thought with Melissa it could have worked well as she has a great voice and sings superb harmonies. AFAIC the best days of Pumpkins are long gone. Think I'll give Siamese Dream a spin.........

for everyday use highend gear is pointless. in the studio its vital.