Mr. Foxen

I recall a vid of a guy with a many stringed bass talking about 'precussive harmonics' which he'd apparently invented, pretty sure it was doing that. I do it where guitarist would do a pinch harmonic.

[quote name='Lysdexia' post='380922' date='Jan 15 2009, 01:51 AM']That's an interesting observation - this shoot, at least in part, was intended to explore objectification and to question if that always means the subject retains (or in fact loses) any sense of individuality or empowerment. I'd really welcome some input on the subject.[/quote] All people have butts, not all pose with a guitar between their cheeks, thus it is more individual than not doing so. Being made of imperfect wood, all guitars are individual, but they are still assigned classifications, and have certain expections made of them, which on the whole, they will fulfil. Pretty much everyone knows how to make another person, but only a few can make a guitar. Also, [url="http://basschat.co.uk/index.php?showtopic=10793&st=0"]this thread.[/url] Oh, Oh, and if a bass is an object, and you get asked the question 'Do you love the bass more than you love me?', who is guilty of comparing to an object (she is gone, the bass remains).

I bought one of the Warwick Rockcase pedalboards, and scored a chunk of foam from the sofa shop to hold the pedals in. They are a bit soft metal, but look tough, so it got battered very fast in a shared rehearsal space with other people moving your kit about. Got an old case that I was considering converting, but I just don't use enough pedals to be worth it.

For the purposes of those charts, is the speaker at the mouth of the horn, or is their fun with horn length as the speaker is inside? And for micing, is cramming a mic inside it going to give me a poor representation of the sound of the cab, but a less coloured one? Micing it has been a the main pain with it, mostly due to sound engineer unfamiliarity with it, been using sansamp DI instead. The sticking your head inside it to see what the mic will hear didn't give a spectacular result.

For Behringer pedals, the one you don't need to stomp on (like limiters and compressors) are the good ones, because its their plastic breakyness that is their downfall.

Bass players hearing from 20hz to 800hz. Voices telling them to stop buying gear 2000hz.

If you ever want to sell that stand, I'd be interested.

[quote name='matt_citizenbass' post='380814' date='Jan 14 2009, 10:52 PM']oh really? hmm, maybe i'm a bit clueless about this whole thing then. how would a 100 watt all valve head size up to my hartke 3500 then?[/quote] 100w is probably plenty for most purposes, with a reasonably efficient cab. I've got it in my head that the old Ampeg 8x10 are horribly inefficient, which is why ampeg heads are 300w beasts, but that might be wrong. What I was mostly getting at is that my band don't do reasonable volumes, and my 130w head and efficient (if at the cost of colouration) cabinet can only just keep up. Kinda depends on the sound you want, the whole valves are louder than SS thing is in the clipping and headroom, clipping SS sounds like badness, although it totally doesn't make a square wave thats DC and kills your speakers (other than maybe your tweeter), driving/clipping power valves give you all sorts of awesome warm overdrive, to thunderous roar. So basically you can turn up valves louder without it going bad.

So why does it take a distance before it makes sound instead of blows air (is it a wavelength or half a wavelength, seems like around 20 feet from the cab, but I dunno how far inside it counts as). And how is it so direction even in the low end. Some dude is trying to tell me the easily observable phenomena of this throw is scientifically impossible, I figure he is clueless. As am I, which is why I'm asking.

The active vs. passive pedal sound thing could be an impedance issue, fixed by using some form of buffer. Its not something I ever really understood, but I read it here a lot.

Here is a picture of the drummer going into the next bit several bars too early. Since we play so slow, we are all generally set up too look at eachother anyway so we can play things at the same time. Its the bit I usually cock up on, and I was doing really well this time. Apparently since most of our music is feedback anyway, the only reason anyone could tell was because we were all laughing in out bleak doomy set.

Some heads have a slave output, that you can plug into power stage of another amp, so you get two poer amps, twice the wattage in theory. The two outs of a TU2 tuner will also do it. You get more volume, ability to drive more speakers, fun stereo tricks, you can eq differently for a really thick sound. Oh, and you get to buy twice as much stuff.

[quote name='Buzz' post='379286' date='Jan 13 2009, 04:37 PM']Looks proper lush though, and the adjustment is a godsend as either my neck or my bridge wasn't aligned properly when the bass was made, E string is very near the edge of the fretboard.[/quote] Can't you whip out the saddle piece and turn the little bar around so the slot is toward the other side? Unless it already is.

[quote name='matt_citizenbass' post='380511' date='Jan 14 2009, 06:06 PM']that sounds great! i really want to try some now! also surely 100 watts all valve head is just ridiculous?[/quote] No, no it isn't.

Me and all the other doomsters are constantly looking out for old valve bass heads. Its like finding an ancient relic amongst ruins, fighting goblins and such. Best is try and spot obscure British made sorts whose names have faded from memory and have thus dissapeared under the radar. My Stak is totally awesome. Simpler circuits are better for bass.

[quote name='alexclaber' post='379647' date='Jan 13 2009, 08:43 PM']The pickup does not synthesise the sound, it picks up the sound of the instrument. If the instrument sounds good (with the given player) and the pickup is transparent then you'll get a good tone. A synthesiser on the other hand creates the sound - you can't really use that kind of processor/mic/speaker response terminology to describe it, you instead need to look at the overtone balance and the envelope. Alex[/quote] Its all sound. Theres more to a bass than sound, if it plays and looks awesome but its acoustics are crap, a pickup that ignores that, and just sounds good whetever its stuck in is going to be a good sounding pickup, and make a good sounding bass. Same pickup might totally waste your custom built to a thesis sized spec bass.

Being in the hanit of taking really cheap basses, that I got extra cheap, and totally rebuilding them, am curious to see what others have done, am just waiting for some routing to be done on my latest that I'm making out of the leftovers of my previous attempts. This is the imfamous pink bass that was voted too 'gay' for my doom band: Johnson bass body, figured lefty neck scored from ebay, Gotoh overcomplicated super adjustable bridge, stack pots from the forum, Kent armstrong pups from Ebay and forum, Neck is held on with brass inserts in the neck and hex key machine bolts, with a 1/8" neckplate, solid as a rock. The body was from a bass hung in a shop window till it faded, the flash has made it even worse. The original fingerboard was a sorry pasty colour also, been feeding it oil, but still not as dark as my other Johnson bass. Fair amount of different sounds can be coaxed out of this, but it is very pink.

[quote name='skankdelvar' post='379123' date='Jan 13 2009, 03:10 PM']FWIW, and playing the Irish angle, I'm informed that both Ronan Keating's MD and his 2nd guitarist swear by them. As guitar amps. Not particularly giggable for bass, I'd have thought, but you never know...[/quote] I'd use one for high side of biamping.

[url="http://cgi.ebay.co.uk/fender-custom-shop-6-string-bass_W0QQitemZ290288887950QQcmdZViewItemQQptZUK_Musical_Instruments_Guitars_CV?hash=item290288887950&_trksid=p3286.c0.m14&_trkparms=66%3A2|65%3A10|39%3A1|240%3A1318"]This[/url] doesn't look much like a Fender either.

According to the spec underneath its a standard 2-piece.

Got a minidisc player for practice reording from recyling section, no hassle. Cheers