Jump to content
Why become a member? ×

Leaderboard

Popular Content

Showing content with the highest reputation on 03/05/19 in all areas

  1. mangotango
    Birthday soon - I hit 61 next week. And starting to feel my age. I invested in new gear just a little while back, but I did think twice, on the grounds of "Is this a bit of a luxury? - how much longer am I going to be doing this?" However, I had a bit of change of heart this week. About 6 weeks ago, I was asked to dep for a rehearsal big band. Show tunes, Miller, Basie, etc. Went OK, though if I'm honest I'm not a good enough sight-reader for that gig. Age-wise, I fit in pretty well, maybe even a bit younger than some of 'em. Afterwards, I passed over my card to the leader for future use and he noted that I also play guitar. Since their regular guitarist had done the off, I've been sitting in on guitar since then. This week, the regular bassist was once again absent, but I was asked to stay on the guitar as they'd sorted out another bassist. And this guy turned up - smashing old gent he was, name of Ray. Had a Fender Modern Player Jazz, Polytone Amp and got the closest sound to an upright that I've ever heard emerge from a bass guitar. I had a chat with him at the break and when he realised that I too was a bassist, we talked about that and I complimented him on his sound. He said that he wasn't all that happy with bass guitar - he'd played string bass (i.e. upright) for 50 years! Clearly I had a "Well how old are you then?" expression on my face, because he told me he's 88!!!!! Eighty - flippin' - eight!! So, still playing , sight-reading like a boss, driving to the gig, all at nearly 90 years old!....Ray, you are my new inspiration, sir. And I hope I'm still above ground and playing that well in nearly 30 years time!!!
    15 points
  2. skankdelvar
    Rickenbacker Boss's Secret Sorrow 'I'm just a sensitive guy' sobs top honcho while issuing legal threats hither and yon.
    6 points
  3. NickA
    Shall I bring my PAT tester then? I can PAT test everyone's extensions, leads, amps and PSUs for free. as a chartered electrical engineer I will also be able to confirm that the process is largely bollocks.
    5 points
  4. Dosi Y'Anarchy
    Well the grabber is just a bit too big for me and I get the sound I want out of the DC with a similar vibe. I love the Mustang but it's definitely surplus and I've just never got a tone I've loved it of it. I did a video: go easy on me!
    4 points
  5. stevie
    I know everyone is chomping at the bit to get their CNC cabs and not a lot seems to be happening, but progress is being made. The CNC company is currently altering their program to take account of what we found in the two pre-production prototypes. The prototypes are now back with the CNC company so that they can rout out the back of the cabinet for the input panel and the two Speakons. As soon as I get the cabs back next week, I'll start assembling one in earnest (with glue) so that we know that everything is A1. I'll then start fitting it out and will post the photos and instructions in the thread. Luke has now designed a brilliant logo for us, and is producing artwork so that we can get grille badges and vinyl stickers made. Another piece of great news is that Celestion is supporting the project. They have offered us such a great deal on the compression drivers that I have taken the executive decision to go for the next model up - the CDX1-1425 - which has the same great sound as the 1415 but twice the power handling for a weight penalty of 150g. They also sent me the sample I need to reconfigure the crossover, which shouldn't take long. So, a big thanks to Celestion's European sales manager Aidan McFall - a fellow musician no less - for his help on this.
    4 points
  6. Moos3h
    So I just got this (see New Bass Day thread) at a bargain price and never got the chance to gig it, now the band has folded. ARGH! PLEASE give it a good home! It's an Elwood L (so chambered) with Delano pickups and Glockenklang EQ - comes with the gig bag and the case candy. Beautiful light weight and perfect balance, it's literally my perfect jazz. Pickup from Worcester preferred but I may be able to post at your cost/risk. UPDATE 28th April - I'm feeling quite down about the whole band thing and getting fed up of it all. As a result the buyer of the above is welcome to my backup bass too - a Westone Thunder 1A - it's been used, abused and butchered but it's a fun ol' thing that has had the active preamp bypassed, neck repaired and looks like it's been dragged behind a car for the length of the M25 - take it, use it, sell it, destroy small towns with it, whatever but I'm taking a break from bass for a while until I want to pick it back up again!
    3 points
  7. SpondonBassed
    As long as you don't discover a flat earth you'll be fine.
    3 points
  8. skankdelvar
    The expression "I hate meeces to pieces" was popularised by the fictional cat Mr Jinks in the Hanna Barbera animated TV series Pixie and Dixie and Mr Jinks. It is a little-known fact that the prestissimo bongo accompaniment which underpins Hanna Barbera's classic chase sequences was recorded by the late Roy Jenkins (1920 - 2003, latterly Baron Jenkins of Hillhead) during a trip to Hollywood in 1957 undertaken at a time when he was intellectually at odds with his party leader Hugh Gaitskell. Jenkins' bongo recording was used and re-used in scores of Hanna Barbera cartoons including Huckleberry Hound, The Flintstones, Yogi Bear, Secret Squirrel and Yentl Yeti among many other shows. In June 1972 Jenkins declined to extend his licensing deal with Hanna Barbera saying: 'I'm putting that sort of thing behind me'. Faced with the threat of bongo-less chase sequences Hanna Barbera invited UK Foreign Secretary Sir Alec Douglas-Home to record a new version of 'the chase bongos' but Home declined, indicating that Denis Healey (Jenkins' successor as shadow Chancellor of The Exchequer) might be interested. Keen to deliver a snub to his predecessor Healey immediately agreed terms with Hanna Barbera, adding 'This will show that snivelling little ponce Jenkins where to get off'. The new bongo part was scheduled to be recorded at Regent Sound Studios on London's Denmark St in July 1972 during the third reading of The European Communities Act. On the day Healey - no committed Europhile - was on edge and fluffed his cues. Overhearing an engineer observe: 'That Stafford Cripps - he was never one to choke an intro' a furious Healey stormed out of the studio. The session was saved when pianist Nicky Hopkins was drafted in at short notice and delivered a flawless first performance even though he had never before played the bongos.
    3 points
  9. Frank Blank
    I’m on at 2:37 presenting my collection of South Mulluckan folk art.
    3 points
  10. jebroad
    @ped shipped me 30 lanyards so yes! It was real useful at the last bash
    3 points
  11. Skinnyman
    Aaaaaaaargh!
    3 points
  12. Basvarken
    Here's a couple of black ones that I've built: Brooks EB-PL-Noir. Inspired by the Gibson EB-0, Fender 51 P and Rickenbacker Noir series 34 inch scale Brooks EB-RBL-Q. Transparant black on the quilted maple top. No volume, no tone pot. But ist does have a three way coil selector (single - series - parallel). 34 inch scale Brooks EB-RBL-Q-II. A sister of the bass above. Only difference is the Volume and Tone pot. (and it doesn't have a zero fret) Brooks EXB-12-Q. 34 inch scale twelve string bass. Quilted maple top. Mahogany body and neck. Built for Rob van der Loo of the band Epica
    3 points
  13. Stub Mandrel
    Yes. I want it to be 2:37, just to annoy anyone with a phobia of prime numbers.
    3 points
  14. Jack
    This thread is getting very off topic and nobody is talking about John Hall or Rickenbacker any more. Keep it up. ✔️
    3 points
  15. blablas
    Afraid it's not the full family but it's most of them. Due to space restrictions some have to live in other rooms.😉
    3 points
  16. bootleg
    Bowie and Chris Squire, who were both huge influences over my life time. It's interesting. We don't "know" these people as real people, so how can any emotions we feel be real? But any emotional reaction is based on what their music and public persona meant to us, maybe how we were formed by them, and what their absence will mean. And it's music, which can embed itself deep into our core selves, so it's very personal.
    3 points
  17. BassTractor
    What a cheat, taking a 27-year head start. You just keep practising, and you'll be as good or better! 😉 Great story. Thanks for posting it.
    3 points
  18. 2elliot
    Wow, can you still buy 8 track tapes? Chuckles then runs for cover... lol.
    3 points
  19. TheGreek
    Not sure if your post is meant as a snide remark...that's how it reads... You're right though...there have been very few class D which IMO come up to the standard of a classic Trace Elliot. Included in that list that DON'T come up to scratch is the TE Elf. You'll see that there is a steady wave of people returning to Class A amps because they too are finding that many Class D amps don't live up to expectations. I've had loads and I'm prepared to share my views in the hope others can learn from my mistakes. Those class D units which I consider do merit mention include the Glockenklang Soul and Rock, the EBS range, and considering how inexpensive they are, Ashdown....and don't forget the great service that Ashdown provide.... I make no secret of advocating for Trace Elliot, as do many others who are using that brand - despite it falling out of favour with many....not because of the tone but because of the weight!! I did not say "NO ONE cares about bass tone" - I was referring to the test at the last SE Bash where very few people could distinguish between amps. Check out the thread for more info. When I'm nolonger allowed to express my opinion on this forum I'll probably leave...till then...
    3 points
  20. gobasserk
    BB414 / Harkte 25 watts combo. Mobile phone on the floor. Goes from PJ to P to J back to PJ BB414 PU sounds
    2 points
  21. machinehead
    These are certainly one of the best amps I've owned. Highly recommended. Frank.
    2 points
  22. NikNik
    Pff....not unexpected. The thing to understand about the little man is that the guitar game is a hobby for him. But he will defend that hobby's heritage, certainly since he took the reins. He is litigious, make no mistake. I would never buy another new Rickenbacker again, solely because of John Hall. That aside, there are some signs of change going on at RIC. I'm not going to hold my breath, though.
    2 points
  23. ambient
    My regular jazz gig is with guys all well into their 70s. One of my students is 82.
    2 points
  24. Skol303
    Amy Winehouse. Everyone could see it coming; but nobody seemed able to prevent it. Which made it all the worse. Very sad and such a waste.
    2 points
  25. TheGreek
    If you were right handed I'd be considering a career change to being a burglar. 😉😉
    2 points
  26. franzbassist
    Me too. I'm a relatively recent convert to Markbass as well. Sounds great, big range, decent second hand prices mean it's easy to try different stuff. All good. I take the big badges off the cabs
    2 points
  27. Andyjr1515
    For reasons that will become clear, I would like to fix an actual time for my 1/2 hr (including questions) spiel on weight reduction for those who want to listen to the drivel. Anyone object to me nabbing a 2.30pm slot?
    2 points
  28. Al Krow
    Just been prompted by your new avatar Mark to reflect on design. The shape of the older BBs I know is certainly not to everyone's liking (I've obviously not had a problem with it!!) But I have to say the new line up, not least the BB P35, is IMO very good looking and I'd say holds its own very well aesthetically when lined up against the more traditional Fender shape. In my case, I'd go further and say I genuinely prefer it. YMMV - beauty is obviously in the eye of the beholder! PS @M@23 if I got anywhere close to 100 gigs PA (let alone 150) Mrs Krow would have me out on my ear for sure! Definite tinge of envy that you can do what I love doing as a hobby, full time.
    2 points
  29. Raslee
    Cheers for the comments guys. I like the analogy of choosing between children 😂.....they're all great of course. Prior to posting i did the usual research and there was some comparisons going on across the pond with Classic's V's normal Stingray and Normal V's Special etc so i drew some ideas from that. What I didn't really get a sense of was the sound of the Classic and Special. There was a little nod towards the Classics sounding warmer than Standards and being able to tame that Stingray top end 'zing' on the Specials with new preamp but that was about it. I've owned several Standard Stingrays previously, 2 & 3 bands, a Slab Pre EB albeit without the original electronics and a couple Sterling Stingrays (The Indonesian ones), currently own a Sterling Ray34CA too with a slab body so know what to expect in terms of ergonomics. Incidentally I've planned a family trip to Bristol this Sunday, and by sheer coincidence (ahem!) there happens to be a PMT music shop in Bristol open on a Sunday ......their website shows the range of Stingrays I'm interested in, if they have them in stock at Bristol is another matter but a quick phone call later will solve that one.
    2 points
  30. silverfoxnik
    +1 As ridiculous as it sounds, the loss of Bowie is something I still haven't yet come to terms with yet, though the reasons why he passed away were not shocking or surprising - he was a lifelong smoker (and user of other substances) after all.. @lou24d53 mentions the words that it was like losing 'a member of the family' which I totally understand, but for me it was more like losing a mentor and a lifelong friend who inspired me throughout my formative years... With Prince though, that came completely out of the blue! Who would have ever thought that someone like him, seemingly in total control of his career and creative life, would have developed such an addiction to pain killing drugs? And also to have passed away without leaving a will? The fact that Bowie and Prince died within a few months of each other made 2016 a pretty terrible year!
    2 points
  31. Al Krow
    First impressions...(through headphones) Glad to find that my spare PSU worked - it's just a standard 9V centre negative 500mA power requirement per the manual. That's quite a chunky current draw though. Plugging in the PSU acts as an off switch for the batteries. Neat! With the PSU engaged I did get a bit of noise on some of the effects patches ('patches'). It's pretty NOISELESS WITH BATTERIES. So it looks like I'm going to be ordering some rechargeable AA batteries (although I did manage to find a stash of about 20 AA batteries lurking from before I went all Ciocks / IsoBrick, so plenty to keep me going for a while yet!) Had a quick run through the pre-loaded 40 patches. Found a few (but only a few) that I liked - a couple of ones I was familiar with from my B3N e.g. [24] Fat Tube - drive, [44] SMR400 - amp and one that Zoom must have more recently released or I'd missed previously [34] Sub Boogie = octave down + chorus, which seemed better at tracking than the B3N octave patches I remember. There are currently 50 user patch slots = 40 preloaded patches and 10 empty slots. This is the same total available user patch slots as MS-60B, but worse than both the B1on, with 100, slots and the B3N with a 150. Someone please explain to me why the patch numbering goes from 10 to 59 - what happened to 0 to 9?! Given that there are at most half a dozen existing patches I'll be tempted to use and very few existing ones that make use of the expression pedal, the fun / usefulness is definitely going to be creating our own and overwriting the existing patches. In particular there are no delay, flange, chorus patches pre loaded. So the next step will be a deeper dive into the individual effects - no list of these in the supplied manual, but available from the Zoom website. I've attached a copy in case you're feeling lazy. There are a TON of individual effects to get your teeth into! (Which those with MS-60B and B3Ns in particular will be familiar with). Zoom's GuitarLab 4.0 is out and ToneLib apparently already supports the B1-4 / B1X-4. I'll be sticking with ToneLib for editing patches as I found that a very usable interface last time around and got myself up to speed on it. The ability to adjust volume and 3 band EQ 'on the fly' globally is going to be really useful. Don't recall having that on the B3N. Update...(through rig) Sounded just great! Effects were crisp / clear. The octaver tracking not quite so good as I thought when listening through headphones - started glitching at A on the low E string (which is actually pretty typical for octavers, so it's certainly usable) Patch [27] Wahdist - drive allowed me to put the wah pedal through its paces. That is going to be a LOT of fun! If you're thinking about getting this pedal for use as a standalone rather than on a board where space may be at a premium, then I'd seriously recommend spending the extra £16 and getting the expression pedal. The Zoom FP-02 expression pedal retails for £30 from Zoom UK, so you're effectively getting the expression pedal for half price. Quick verdict If you've paid £70 (or £85 with expression pedal) for this and are expecting it to stand toe to toe with a Helix Stomp, you're going to be sorely disappointed. But if you're looking for a compact multi-fx which will likely pretty quickly displace the B1on, MS-60B and B3 with their older DSP and chip sets, then this could well do the job. If you don't have a headphone amp and want one - this is worth the entry ticket just for that and, of course, it also doubles up as a tuner! Zoom B1(X)-4 effects.pdf
    2 points
  32. donslow
    when measuring and marking up the distance between nut/12th and G saddle I've always made sure the G saddle is in the centre of its allowable movement then as @Grangur said, it allows you some movement for fine tuning intonation when the whole bridge is in place
    2 points
  33. Bigwan
    Already quoted this, but I should have added that I met Dimebag once (or Diamond as he was going by at the time!) - it was my very first live gig, Pantera supporting Megadeth in the Ulster Hall. Left a mark. He was very cool, unlike Mustaine and Friedman that acted like you were something to be avoided... Meeting him was a bit out of context as I hadn’t even seen a live band yet, but was mightily impressed a couple of hours later!!!
    2 points
  34. SpondonBassed
    You can stand between me and the rest of the room when I crank up the B2A then...
    2 points
  35. kieranhogarty
    Hi there, I am selling my Helix rack as I am downsizing to a more portable setup (HX Stomp and Trace Elliot Elf). Originally had my whole rig on here hence the £1200 embedded price tag. Cheapest I've seen is £979 new so £760 for basically new is a cracking deal. Everything is in nearly new condition, all in perfect working order. Bought new and popped straight into the rack case. I do really love this setup but I require something more portable to fly with. This will include power cables and the original box for helix. Pickup from Bath would be preferable, but I don't mind delivering personally or meeting up half way within a reasonable distance. If personal delivery within reasonable distance isn't available I can post it first class recorded which will be included in the price. Any questions please drop me a message on here. Kind regards, Kieran Product info: Helix Rack (Andertons): The latest generation of Line 6 amp simulation is here! For decades now Line 6 have been leading the wave of digital amp simulation ever since they launched the POD all the way back in 1998. Now the next wave of premium products is here with the Helix Rack System. Using Line 6's dual DSP HX modeling engine you can get even closer to the sound in your head at your feet. With 45 amps, 30 cabs, 16 mics and 70 different effects built in to this thing you really can get any guitar or bass sound your heart desires. For the latest Helix software update click here! Every Nuance Captured Line 6 have always had a great attention to detail but what they have done for the Helix is from another world. They have gone through and perfectly modeled every amplifier in the Helix from the power amp to the preamp even to going as far as to measure the power sag in the amp and implement that in to the models. If you have ever wondered if a digital amplifier can feel like the real thing it is really worth coming down and plug in in to the Helix you will not believe what this one unit can do. So Many Options Line 6 have spent years developing the Helix to be everything it is right now. So they didn't just want to stop at delivering the best possible amp and effects modeling but also incredible levels of control that you have never had before. That is why you can run up to four amplifiers simultaneously with up to 32 effects all running on four discrete stereo signal paths for ultimate clarity. You really can take full advantage of every effect, amplifier, cabinet and mic to make your own distinct sound that no one else has. Connectivity It is likely that you have already built up a rig of your own that you love the sound of. Line 6 know that you aren't just going to chuck out all of your boutique effects and amplifiers so they have included enough connectivity so you can use all of your own gear. With the ability to not only run four loops of your own external effects pedals but also change the channel on your amplifier either via MIDI or 1/4" jack this will soon become the centerpiece of your entire rig. All Reinvented UI We all know one of the biggest pains with digital amp systems is that they take so long to set up and changing things on the fly is not easy. Line 6 went above and beyond to make sure that wasn't the case with the Helix. Fitted with a 6.2" LCD display which shows your guitars signal path which can be easily navigated using the 6 smart edit knobs and master control knob you will be up and editing in 5 minutes of setting up the Helix. Tour Ready With all this tech isn't it more likely for something to go wrong? Not at all, Line 6 have spent a long time finding all of the strongest possible parts so that you can take this on the road without failure. Built with a solid-aluminum construction and with controls so strong they will go for years before they even think about failing the Helix has been made with touring guitarists in mind so you can rest assured that this will survive anything you can throw at it. Getting Gig Ready Having your system in a rack can be incredibly useful for live and studio use as it means all of your gear and controls are in one place. Unfortunately you do lose out on the ability to change your settings on the fly without a solid footswitch system. So if you are looking to gig with this rack take a look at the Helix Floor Controller to finish of your rig and get gig ready today. Features Tour-grade multi-effect guitar processor Output for Helix Control floor controller Dual DSP-powered HX modeling engine 45 amps, 30 cabs, 16 mics, and 70 effects Editing workflow can be mastered incredibly quickly 6.2" 800 x 480 LCD display 10 inputs, 12 outputs (including four effects loops) 8-in/8-out USB audio interface Multiple expression pedal outs CV/Expression out External amp switching XLR input S/PDIF, AES/EBU, and L6 Link digital outputs Read less
    2 points
  36. Teebs
    Flapjack Corridor - prog rock / psychedelic folk
    2 points
  37. Osiris
    The Amps and cabs for sale section earlier today.
    2 points
  38. Wolverinebass
    Nobody would care about them if they were on a Dingwall. Mainly because the only questions that would be getting asked is "I need everything made by Darkglass now!! How much will that be? How do I sound like Nolly Getgood? Does lime green Djent? Will it downtune to drop F?" The fact that the pickups might look like my 4 year old son's attempt to draw a triangle would be of little importance.
    2 points
  39. PunkPonyPrincess
    I’ve always wanted TE and my path to it was to buy cheap and bashed up and do a refinish, it has proven very cost effective. I am almost there with the big rig, it’s just waiting on a second GP7 for a 2x10 cab just arrived... the setup is for a punk band I am in and it seems I am not only a bassist but also becoming a guitarist and vocalist for the 3 piece so the bass guitar splits off at the Fishman Fission pedal and provides gonzo power chops tracked from the bass and bass into the 4x10. Blending both into one amp sounds a bit messy. This will do me.
    2 points
  40. Ashweb
    Thanks for all the comments and the support - much appreciated; and you were all right - it did go by in a flash and I went from terrified to hooked within the first track. I got called up and was very nervous - the sound check took a little longer than we had hoped as they tried to set up the in house PA and by the time everything was ready, people had started to arrive, so me going up for a play through would have blown the gag. So when I was called up I hadn't played at all so was cold, hadn't had the chance to iron out any wrinkles and I really should have discussed a few points before hand; to say I was nervous was an understatement - as I picked up my bass, I noticed my hands were visibly shaking and I tried to play Seven Nation Army riff to get everything moving and quick warm up and totally blanked (I can normally play that one in my sleep) - quick change for Hootchie Cootchie Man which worked then heard the singer and others asking if I was ready; which meant I had to be... First up Blockbuster as it's quite easy and first crash course in playing live. I'm waiting for the siren effect and drum to effectively count me in and the band jump straight in leaving me dead - jumped in on second bar and not too bad after that although the big drum solo went a bit wrong from my point of view (one of the things I should have discussed on how to handle) although the rest took it all in their stride. Second track Ballroom Blitz and I started to enjoy myself more although totally missed the start again. Drummer started great and I was then waiting for the singer to come round the band 'Ready Lawrence? Ready Ted? Ready Ash? Alright fellas, let's goooooo!' that sort of thing but again they jumped straight in. Caught up by bar two again and did ok - I moved on to one bit as per the track I had played to but the band extended this bit and I'm pleased to say I just went back to the previous line and joined in. Had to scramble a bit on on or two of the runs but did OK, then I got a bit too into the groove and timing of the main riff towards the end and totally missed the change in to the outro so just kept going with the ball-room-blitz riff I'd been playing until I could work out where and how to jump in; then realised the guitar player, Lawrence, was playing an absolutely incredible solo over the top of this and the drummer had locked in too. I just thought to myself 'Ok, I'll be the rhythm then' and carried on until I heard the guitar join in my Ball-room-blitz riff which I took to mean we were about to finish. Looked up when I heard some shouting on stage and the singer was holding up one finger (polite way round) so I'm thinking 'Finish after this riff? ... Yes we did! PHEW!' Final track 20th Century Boy - Nailed the start for once, absolutely loved playing along although I messed up some of my well rehearsed improvised fills 😉 but as many have said, I don't think anyone noticed. I even had time to look out and see my Son busting some moves on the dance floor during this one which was a nice moment. The ending of this one is a bit odd on the track and again the band did a fantastic job of relaying how to do it the way they normally do it (very different to the track but really effective) and we all nailed the stop. That was my 15 minutes over and all too soon too, but I will definitely be doing it again. Not sure if anyone videoed it but if any turns up, I'll post it. When you're related to most of the women in the room - and married to one - that WOULD be a problem!
    2 points
  41. zomnius
    Black Jupiter..
    2 points
  42. EBS_freak
    I believe that they co-exist without an issue. Put it like this, I run 10 channels of ULXD and EW500 simultaneously. For those interested in high density - ULXD with encryption I recall to be 2.9ms.
    1 point
  43. TheGreek
    Just watched the YT video - nasty tonal palette - somebody will be well chuffed!! GLWTS
    1 point
  44. Reggaebass
    I like the slap at 2.47😀
    1 point
  45. dave_bass5
    Yes, i hear that as well with the B1-on. As you say the sound seems more digital at the end of the note. There is also a high end boost with most of the patches. Because i play with a pick its more noticeable. I don’t mind it because I’m only playing at home, normally along to a YouTube video so it gets masked To my ears the Four has less than the B1-on on all the above. Obviously drives etc will produce noise but there was no hum or hiss when not playing, and the notes just seemed more ‘real’. Ill try it ion a PSU tonight as well, but i have no intention of using one with this device.
    1 point
  46. gobasserk
    I used to use Warwick red labels on everything because they are so cheap you can change strings every week. I love nothing better than fresh steel strings. I tend to say you can always dial highs out but if the strings are old, dead or done you can't dial anything in anymore. But I noticed a significant degradation on the red labels that occured with time. I had quiet a lot ..well how is that called in English..? The string core was broken on numerous new set of strings. It hit me once on a weekend in the studio when 5 out of 10 sets had dead e strings right out of the packing. I had to fight in the shop for getting them replaced and again 2 of 5 sets were like that. Even more bad was that suddenly I had problems to get my basses ..oh god...my english... in German it is called octave purity? What it means is that you can play an octave anywhere on the bass on any frets and it is "in tune" and sounds fine. I gave two of my basses to my tec guy and was afraid their necks had gone twisted but it turned out that with any other strings than the Warwicks tuning was just fine. Only with the red labels the problems occured. So I changed to D'addario Steels. Double the price of the Warwicks but I think they last a bit longer and they have more bottom.
    1 point
  47. Bassman Sam
    1 point
  48. chris_b
    If I was contemplating a life, sitting at home, without a band. . . . I'd keep the bass stuff going but I'd also add learning keyboards to the list of things that would occupy my time.
    1 point
  49. MrCrane
    Dee Murray and Nigel Olsson
    1 point
  50. funkydoug
    Although the PD v2 rumble filter is not designed as a HPF for bass guitars, the unit does have the subsonic filter that all Sansamp products have, so it should not need a thumpinator or something like it to filter out very low (subsonic) frequencies.
    1 point
×
×
  • Create New...