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Showing content with the highest reputation on 14/11/18 in all areas

  1. 4 points
    Finally got round to building my Kurt Ballou Brutalist Jr, with an added Fuzzdog clean blend control (hence the slightly uneven pot spacing). Looks a bit of a rats nest top-down, but all the wiring is nicely layered, with moldable wire. I'll probably leave the top plain, maybe label the knobs with some old-school embossed labels. Sounds very cool! I also recently modded my Boss ODB-3 with the Monte Allums Try-Gain Plus mod. No guts shots because there's not much to see, replacement of about 10 components to smooth, thicken and tame the buzzy nature of the stock pedal into a nicer overdrive, including an IC replacement. The mod also adds the switch which let's you switch between 4002, LED & Diode lift clipping options. Also I added the sticker to make it even more ODB: Si
  2. 4 points
    All this stuff about names is bunkum, I remember people somewhere writing in disbelief that DG amps didn’t actually have oompah loompah sized tubes in its pedals or amps, and how it’s misleading. Is a precision bass any more precise than a jazz, and can a jazz only be used for jazz. Do your research on the sound (not just looking at figures), evaluate no matter what the name it’s given, use your ears - it’s really simple. There are great people on here but their sound is their sound. I may hate their stuff, they may hate my stuff, wouldn’t make either of us change. So many good guitarists and bassists through time have used unfashionable stuff not many others would touch but sound mint. Very simple
  3. 3 points
    Blah blah blah weight blah tone blah blah. Get a grip everyone. Matching black headstock trumps everything.
  4. 3 points
    on the front under the strings seems to work for most builders.
  5. 2 points
    I have always been aware of Joe Walsh and known that he'd done some great music, but have never really listened to any of it. I just stumbled over this excerpt of him from "Live at Daryl's House" and it kept me listening. All that is great about some of the music made in the sixties and seventies. I hope you enjoy it too.
  6. 2 points
    Going into the studio tomorrow to do some backing tracks with my son on drums and daughter behind the desk. Proud Dad moment!
  7. 2 points
    On BBC 1 News this evening talking about the effects of Brexit on an import/export manufacturing business. Weird day!
  8. 2 points
    Looking to move this on, its virtually brand new, been used for 2 shows and a few rehearsals. Great cab just not quite for me. This is the 2 Ohm version so ideal for some of the newer Class D's or an SVT user, it really is monstrously loud! I had this one made with a black cloth grill, looks killer with an SVT on top. I can ship this is needed. I might consider a trade but the only things im looking for just now are a 5 string Sandberg VM with an aged finish or maybe an Ampeg 410hlf (relatively new).
  9. 2 points
  10. 2 points
    Yeah you're right. I hang my head in shame for expressing an opinion. I also take back my comments on Andie Macdowell, as I'm not an actor.
  11. 2 points
    Only if you use picture frames as props onstage 😛
  12. 2 points
    No it won't. It will filter out some of the "noise" elements in the supply and do its best to smooth out any fluctuations in voltage. However all the commonly sold power conditioners for musical equipment are designed to overcome problems in countries like the US where the overall standard of the mains supplies is rather poor compared with what we are are used to here in the UK. In fact in the UK if you are having mains supply problems they are nearly always more serious than a standard power conditioner can cope with, and in these instances only a well specified UPS will do. The UPS will completely isolate your equipment from the standard mains supply and uses batteries to compensate for fluctuations and blackouts in the supply. You specify them using the current draw of all your connected equipment and the length of time they need to provide power in the case of a complete mains supply failure. Because they contain both isolating transformers and batteries they are big and heavy. I suspect that following the electrical work at the venue the "stage" power is inadvertently sharing it's supply with something that requires a large startup current and when this comes on it is causing fluctuations in voltage and current to the rest of the devices on the same circuit. It might be possible to find another set of sockets in the venue to power your equipment off that are not on the same circuit as whatever is causing the problems.
  13. 2 points
    Thank you everyone! I got a new nut and removed the old pencil one. Had to file down the slots a fair bit to bring the strings closer to the neck since it’s been defretted. Also had to lower the saddles almost as low as they can go but it’s sounding much better! The dead spots have almost gone, I just need to get a new set of strings then I think we’ll be reet! I’ve alwas struggled setting up fretless’s for some reason - I’m going to spend a bit of time on this one though
  14. 2 points
    In music you never make mistakes. They're just accidentals.
  15. 2 points
    If you've only just discovered Joe, then back-catalogue a bit further and check out The James Gang.
  16. 2 points
    Earlier last year. I purchased a set of 745’s. These replaced a pair of 312’s and a rcf sub. We’ve haven’t looked back. We’re a team of players, performing in a variety of bands from classic rock, funk disco and folk. They handle everything with ease. No more subs, which is brilliant. Highly recommend making the jump
  17. 2 points
    Relatively few people care about what paintbrushes Michelangelo used to paint the Sistine Chapel. And those 16th century brushes almost certainly won't have been as 'good' as stuff you can get now. But would they have made the results any better? I think he would have found a way to make a masterpiece regardless of what equipment he had. Give me the best brushes in the world, and you'll still get something an elephant could have done And we're not even in the realm of artistic masterpieces here, we're on about - for most of us - the sound of a bass guitar as heard by drunken people from across the room in a British pub. Of course a stinky poo hot band with cheap gear will blow away a bunch of guys with all the gear and no idea. As long as the stuff is fit for purpose. And especially nowadays when cnc assisted manufacturing can produce far better instruments for far less money than ever before. I think many blokes have something wired into them that makes them want to gather stuff. And to always be on the lookout for the next shiny thing. And the internet makes it possible to spend every free minute reading up on, watching videos of, discussing your next cool purchase. It's just blokes. I have no problem with it, unless talking about basses and looking at bass related stuff on the internet is something you do INSTEAD of playing them. The stuff I have now is probably the most expensive bass gear I've ever had, and I think it definitely sounds the best. But I doubt many audience members could distingush between any of the different setups I've had. The main reason for getting industry standard gear (i.e. stuff that professionals use), is that it's usually the most reliable, and (for amps and cabs, anyway) will sound great even when you turn it up LOUD
  18. 2 points
    Indeed! I have noticed a few times people trying wireless systems and wandering off away from the stage, testing the range, and then commenting on the slight delay. When you're 30m away from the stage, any processing delay is going to be minimal compared to the delay due to the speed of sound. It'll still be delayed if using a 30m cable!
  19. 2 points
    The resistance was pretty easy re: BBP35. The active/passive versatility of the 735a just filled me with more delight. And I much prefer the matte black of the 735a to both the sunburst and the midnight blue offerings of the P35. Tom @ Wunjos did do me a nice deal which convinced me to abandon all thoughts of buying via the Yamaha Music Store. I’m a happy bunny - It’s an incredibly classy looking instrument IMO!
  20. 2 points
    There are a lot of these 'Real Book' 'standards' that, to those having studied them a bit, reveal their structures to be, in some respects, a bit like a collection of 'musical Lego bricks'. By this, I mean that they're comprise a series of relatively simple concepts, strung together, such that, once the structure recognised, what's coming up next becomes pretty evident. This is easily demonstrated by the well-known 'I-iv-v' stuff found in many pop songs, or the notion of three-chord 'cowboy' stuff. The 'Lego' used in Real Book tunes is a bit more complex, and richer, than those simple examples, but there are few 'standards' musicians who'll learn by heart each and every song, in each and every key. They'll absorb, over time and through much 'wood-shedding' and playing out, a whole repertoire of 'Lego', and assemble the bits with fluidity, whatever the 'standard' being called., in whatever key is required. It's not rocket surgery, really; just a specific 'mind-set'. I've a number of books which break down many of these tunes into their 'Lego' parts; it's quite revealing.
  21. 2 points
    If you'll pardon me, this makes little sense. If the bass drum (or any other instrument...) needs to go through the PA to be heard, it should go through the PA, end of story. A band with a violin..? Maybe he'll bring his own local PA..? Then the harmonica player. Another local PA. Keys..? No, nt through FOH; bring your own PA... The list goes on. A spot of drums (bass drum, overhead...) are easily mixed into any decent-enough 'tops only' PA. How do I know this..? It's what our band does, and many other bands I've played with or done the sound for. Such a system won't work for a stadium, naturally, but lifting any instrument into the mix for the audience is what the PA is for, no..? Obviously, a heavy-metal 'head-banging' raucous rock band would be a different affair, but I doubt that the bass drum be weak in such a formation in the first place..! It's a separate issue as to why the drum is so low in the first place, of course, but that's a whole other kettle of worms.
  22. 2 points
    One of my favourites is ..."You're The One That I Want"...from Grease.
  23. 2 points
  24. 2 points
    If you wear a glove to pluck, why not sew a pup into the palm - then you can learn to move up and down the neck to always be on the 'sweet spot', and subtle shifts in intensity will be possible too. Shouldn't be too difficult to master.
  25. 2 points
    I always think that if you like your gear you are inspired to play more and have more fun doing it, so yes I think it matters from that point of view. As mentioned elsewhere, I buy gear for me and my enjoyment, not for the audience, my band, or anyone else - though everyone benefits when I feel comfortable with what I'm playing. That said, it has little to do with how much that piece of equipment cost.