Mr. Foxen

[quote name='Shockwave' post='1067787' date='Dec 23 2010, 02:00 PM']Hmm if the 69er will be the same size as my vintage i may have to consider it! Though the impedence might be an issue :S[/quote] I call dibs on the Vintage.

If you are after hi-fi, probably want to start by not limiting to 4x10s.

When I say 'colouration' I mean 'distortion'.

Every time I've done a guitar setup for someone who detunes, it has never been to suit their voice. The half step is always because some cheesy blues dude did it, and the really down was either 'because it's heavy' or 'because Metallica play in standard, so screw doing that'. And when complicated chords "****ed up a whole generation"m do you means 'taught them to play jazz' or 'forced them to play punk'?

[quote name='stevebasshead' post='1067912' date='Dec 23 2010, 04:32 PM']Nah, they've just stuck an unnecessary word in front. All watts are analog. If there was a digital watt it would have a value of 1 or 0. A watt or a not-a-watt...[/quote] I guess they are trying to appeal to the anti class D crowd. Which in fairness is kind of off or on in a sense.

Guitarists do this because they heard SRV and Hendrix did it. That is pretty much the sole reason.

If you want NOS caps, PM Nick on here, he has some Russian paper in oil jobs that are ideal for purpose.

Pickup balance needs to be judged by ear rather than by distance. So fiddle with it till it works. If half the pickup is on its way out then it will be apparent by tapping the poles, but unless it is a split pickup (like a P type or some Dimarzio Js where there is a coil for each pair of strings) it is unlikely half will go.

"Analogue watts" gah. 300w might be a bit underpowered I reckon, think another member had troubles with his Sansamp amp clipping.

[quote name='Bill Fitzmaurice' post='1067837' date='Dec 23 2010, 03:14 PM']Have a good tech install an XLR out. He only has to tap both sides of the inverter stage, capacitor isolated and resistor padded, with an output level pot for good measure. You probably don't understand a word of that, a good techie will.[/quote] Won't this give you a preamp out only, whereas between speaker and amp will give the tone colouration from the power stage also?

All of the copper needs to be earthed, and connected to each other piece, if it isn't the stuff with conductive glue. Really, you need to check it all for continuity with a meter once it is all in. Easier using paint.

Listen out for farting out, don't turn it up loud enough to do it. If you aren't loud enough, bump the mid and cut the bass.

[url="http://www.duncanamps.com/tsc/"]This program[/url] is quite informative as to eq curves with passive tone stacks. Especially how scooped the Fender one is.

[quote name='BurritoBass' post='1066040' date='Dec 21 2010, 07:16 PM']All Orange gear appears to work on the same simple set up. If you like it, great, but if not then it isn't for you.[/quote] Old/proper Orange stuff has the bass and treble no mid Bandaxall tone stack, which is pretty linear, both in the middle is flat style.

I had a 4 string Grind (or possibly the immediate precursor) and I found the neck to slim but it was otherwise a very well made bass.

Any dedicated power amp for PA purposes, will be much cheaper for what you get for anything dedicated to bass, and probably be equally or less coloured (because they aim for uncoloured, rather than bass pleasing).

Des that one have the 3 band eq? Fender style tone stack means you can't boost the mids, try stating mids full, treble and bass right down, that is roughly flat. What cab are you using? The Fenders with that tone stack were generally pair with middly cabs in the day, doesn't happen so much now.

Maybe they know what the best rig for metal is? I don't think many of us appreciated the prices you get for scrap currently. And I think many bassists tend towards hoarding, and having a great deal of spare cable laying about, judging by the content of the House of Bass.

The most important thing to do is to listen to what you are playing. If you don't do that, everything else is moot.

I think Japanese stuff is metric and American stuff is Imperial. That might have a little to do with it.

On thin skinny necks, the tension change can put your other strings out a little. I tend to think of it as giving you two lower notes rather than a means to be in drop d tuning sometimes. Bit of practice and you can thumb the lever as part of your playing.

Ebony is pretty variable stuff, both in properties, and what actually gets labeled as 'ebony'. It also tends not to be as black as fingerboards suggest.

[quote name='TimR' post='1063386' date='Dec 19 2010, 11:43 AM']For each of us the tone comes from different parts of our chain in different proportions. To say the amp is 5% is nonsense. It could be 0%-99% depending who you are.[/quote] The who you are bit is the 85% part. When I said 85% fingers, I mean in the sense that a slap is gonna sound different from a gentle pluck whatever rig it goes through (provided the rig is working right).

I realised why I can play descending scales loads faster than ascending ones a while back. I use three fingers: ring-middle index, and that corresponds to the three fretting fingers order, so it co-ordinates easily. So I figured to play ascending as fast I need to learn to reverse the finger order going up, so when I want to do extended widdling I can go up and down rather than falling off the bottom eventually. Problem I'm having is that I'm pulling practicing faces that I haven't for years and my face really aches after about half an hour.