All Activity

Basses or kids?

Peter Gabriel Plays Live from 1983 - on a trip into the distant past - I'd forgot what a great range he has and the tones and colour in his voice. What started me off was a friend's tittle-tattle about Gabriels ex-wife sending a letter into some Genesis/Gabriel fan site or magazine - saying how upsetting she found seeing him in the video with Kate Bush for Don't Give Up and that there might have been a bit more going on between the two of them - I'd never heard of this before or about that letter but I have Spencer Bright's authorised biography of PG which is pretty old now - came out in 2000 and there is a bit about her being upset about the video but I don't think it was anything more than that - what does get mentioned is the chemistry he had with Sinead O'Connor which I also didn't know about. I also have Kate Bush's biography by Rob Jovanovic - also quite dated - from 2005 where very little is mentioned about PG... anyway - this is what sent me off listening to all the PG solo stuff I have. I remember thinking that the live version of Shock The Monkey off this Plays Live album was better than the studio version.

Interesting... Tried the new intro song... it was going to be solo acoustic but we thought we'd put in some subtle backing. It's tricky with some dropped beats, but with the vocals it makes sense. I swapped a bass riff (inspired by Cirrus Minor) to a different song so had to invent a replacement. I suggested a big tempo change that rescued another song. For my troubles I got threatened by a clown armed with a rubber sledgehammer, but the vocalist cut his face off with a plastic chainsaw... the gig will be memorable! True confession... I'm starting to enjoy plectrum playing (perhaps because the extra practice is making me better at it).

OC2 clone > mammoth clone > Alembic tube pre “clone”> tuner/mod/delay/reverb/everything else that I think I need from tone3000, mounted on a pedalboard riser powered by you know what.

From photos, I'd be pretty confident that Andy Fraser used 4x12 cabs with his Marshall 100W bass heads. I think his tone was mostly in his fingers.

That's kind but I'm better at theory than I am at tones. I'll do my best for Andrew though. I had a quick look and at the Isle of Wight in 1970 Andy Fraser was standing in front of a couple of full Marshall stacks and there seems to ba a WEM stack over there too. The only one I could see clearly was a couple of 4x12's with 100W valve amps on top. The nearest one seemed to be guitar cabs and the ones stage right looked a little chunkier and may have had different drivers in. However it was common in those days to split the guitar and bass stacks cross the stage so they were both sides of the drummer and guitar and bassist could hear each other. Something I used to do at the time when doing sound for bands. In 1971 Jim Marshall was still serving in the shop in Cricklewood and building amps himself as I found out when he remembered building the amp I took in to the shop for some spares. Yes Andrew I know what it is like to be 73 I suppose what I'm saying is that in those days there were very few purpose built speakers for instruments and free may have had things made up specially for them. Bassists were quit likely to use the same drivers as guitarists so that may be part of his sound. Certainly there isn't a lot of deep bass and not a lot of top end in the tne he has there. The studio tone is probably the result of a miked cab and DI mixed. Anyway i had a good time listening to the live tracks on the Free Story which was fun. So yes in general the tone you hear is that of lots of cheap drivers packed together in a big cab, lot's of 10's is really more of a late 70's early eighties thing and I think he might have used 12's for live work as above. In any case it's more about the individual speaker rather than it's size so you can get similar tones from 10's 12's or 15's. I suppose I'm saying buy a cab because it sounds right not because it has a 10" driver. You have two possible approaches. You could probably achieve something close to that tone in the studio taking the output straight from your bass and eq'ing it after it's recorded, maybe adding in some fx too. On stage you can do the same by using a neutral toned/flat response cab (FRFR) Nowadays you can get bass cabs that will do the same job as a studio monitor like the LFSys range and there are all sorts of tone settings you can download where someone else has done the work. You won't be the only Andy Fraser fan. It's even possible that someone has recorded the bass and used a computer to work out the response of the cab. You then feed that into your Barefaced which has a reasonably flat response The second approach would be to look for a cab engineered to give an old school sound. The Barefaced One10 mcomes to mind but I think that will be a bit warmer than the Free live sound. You can add in fx and tweak the eq to get closer to the sound you want. Other people will be better at guiding you then me. Apart from anything else I've got considerable hearing loss from standing too close to big speakers and even bigger drummers too often. Welcome to BassChat

Oh, ill probably try a ToneX one next, but not just yet.

But... does that tell you if it is good for metal?

Here in Aotearoa , the great Neville Claughton imported 3 x L2 in 1984 they were $3300 retail and all sold promptly Pound to NZD was 1/3 so sterling 999 to NZ $3300 sounds bang on

Plug In Baby - Muse

In my dreams they add a couple of more bass amps, SWR/eden type, or trace/ashdown, a couple more preamps with a console style and then a load of the moogerfooger effects. That would make me happy.

I have different bands: My main band - a fiery soul/blues trio in which I share lead and backing vocals alongside bass, work on songwriting with the singer, and have a fairly free rein creatively to bring whatever I bring to songs. I also provide the PA, lights and transport. My solo gigs - I choose to do (or not do) whatever I like, as it’s just me. No one to have to run anything by apart from my wife in terms of gig times/dates. My PA and my gear, mix of my own songs and covers, all sung and played by me. Tribute band bassist - all the publicity and marketing is done by the band leader. I just learn my lines and show up, and do my bit on setting up, taking down and transporting kit. Dep bassist - again I have little to do with promoting or influencing the band’s direction, and just turn up when they need me to provide bass and backing vocals, and help set up and take down the gear.

If you have a patch on the HX stomp with both Left and Right loops on, and they are bypassed And you plug in something to one, but leave the other unplugged. And then try and use say the left one, with the right one unplugged.- HX stomp goes a little bit crazy and does all sort of noise, like feedback or DC in the signal or something. And if you've just built a pedal and are testing it - and get the sound of electrical pain coming out - of course you're going to spend 2 hours tearing your hair out trying to work out what you've done wrong. The answer is compete the other loop with something, or delete the other loop block. I guess it must be the ground connection it's after. but year - that was a crap evening!

Thanks - will check tomorrow.

Hohner fretless six-string, the first one I've ever seen for sale. https://www.ebay.co.uk/itm/397042940781?itmmeta=01K4TQFWCFA820ZNAER3E5432D&itmprp=enc%3AAQAKAAAAwMHg7L1Zz0LA5DYYmRTS30l4n0J6VsC8kafy07RwDvvFQUZ6i%2B%2FIUb2mQazEKrf%2FF%2B79xQIpTJNg5fNcgKtNbIXzjT%2FKZ7NsCDtmowCNZcFJiDj4D4ImtofnoDXwOPCIOwApWyEvU%2FHAln8%2FMUZiT0Bygjjq0ud4lz8kT3yInD2Jw5fU6pXFTA4NjOc0jD8ocEZtVK2QH2aOzsSzEcPY18Ty41pLhkx4ERmO8XrWhZv6a7ng7URxfAmhFkVdmCZrVg%3D%3D|tkp%3ABk9SR7bGv9emZg

I did try wireless in the end but it all felt a bit 80s to me so I went back to a trusty old cable. I respect the level of effort that has gone into this. It will not be forgotten.

As the almost exact target market for a bass like this I'm seriously conflicted. It looks stealthy and super slick and cool, and I am a HUGE fan of the Jackson headstock over all else. Nice binding and luminlays too, real sexy. I'm also a big proponent of the Jackson "sharktooth" fret inlays, so sharp and much cooler than dots. But £1400, really? The body shape is nothing special and aside from the inlays and headstock shape I see no real benefit over a Fender Aerodyne or even something like the black Yamaha BB734a. Hell if you want something rock and roll get a used MIJ Charvel with the same headstock, real 80s heavy metal/shred heritage and made by the real Jackson before they became part of Fender. And most importantly cheaper too.

Do what? Bunkum chap! You're totally right the cut gets bigger as the frequency gets lower. That's exactly what an impedance mis-match does! But look at it, EVERYTHING below 1k is significantly cut. That is a huge loss of energy at the bottom end. LUFS meter would plummet with all that meat gone! Honestly, if you could hear the audio of those signals, it was a really big difference.. like someone rolled the bass and low mid knobs on your amp down to 1. So I answered my question: YES the JOYO has a normal / general purpose (ie low) input-impedance (presumably 220kOhms). Perfect for bass guitar, or pre-amped signal, but rules out using it without a buffer/preamp/active circuitry between the piezo and the transmitter. For me. 100%. Cos otherwise it's only sending a shadow of the signal coming out of the pickup (as my ears clearly told me, and the spectrum shows). If you had to, you could EQ it to boost those missing low ends, or cut the mids and highs to level out the signal before boosting everything... but you're building a noisier, more feedbacky signal and it's all just a bit... urghh. Why throw away half your signal then try to artificially boost it back? 😆 Course it doesn't matter a jot if you HAVE got a preamp BEFORE the wireless, or active electronics... or even a mag pup like whot you got. I just want as little crap as poss hanging off my bass ... even if the Schatten MiniPre is only the size of a sardine can. 👍 I shall enjoy using the JOYO with my bass guitar, as I'd intended in the first place. Thanks for the recommendation!

There’s a Hole in my Bucket - Traditional

Can’t help you with your tone question, unfortunately, but

Loves an SR, got a few, Son has a SR306

The Sweep