acidbass
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I've recently received two replacement Blue Line drivers (with black cones) for my Ashdown ABM combo - the guy (his name is actually Guy) was very helpful and it only cost me around £40 for both of them including carriage!
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Behringer Di100 box - a couple of dumbass questions
acidbass replied to lanark's topic in Accessories and Misc
If you're using it to go into a mixing desk, then surely the desk will provide it with phantom power? -
It's been on quite a bit over the last couple of days, as well as Classic Albums: Who's Next - a veritable feast for Who fans such as myself!
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Super amps - have used a 60w 1x12" combo for practice many times and it has consistently sounded great!
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They just speed up the turning of the tuning peg really - whereas normally the winding of a string onto it might take 2 minutes, you can literally do it in 10 seconds. I believe there are bass-specific versions on the market now too (ie ones which facilitate having larger tuning pegs)
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HH was actually quite a well-respected brand name in the audio world back in the 70s, I think the brand has recently been revived by Laney too. I'm not much help with the tech specs or anything but the HH could certainly be a decent cabinet. My keyboard player swears by his old HH amp for onstage monitoring - despite it being over 30 years old and battered to death, it still works a charm.
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I can't imagine that an 70's Les Paul case would be along the same price line as something by Fender from the same period - they seem to be the most sought after. The seller more than likely has a valuation in his mind, so maybe try to eek it out of him? I certainly wouldn't be paying over the odds for one if I were in your situation - you'd do it only to find a similar one for sale a few weeks later for pennies!
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I don't think I'd be attempting any fills without knowing what notes were coming directly afterwards!
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Dunlop for me - the sticky outy bit on the Schallers annoys me, plus the whole thing once came apart on me coz the screw gradually gets looser and the bass almost fell to the floor!
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Go for it mate! Have you thought about stacking them horizontally? THAT would be a killer look!
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[quote name='Doddy' post='788607' date='Mar 28 2010, 04:14 PM']Bear in mind that as soon as you fret a note it makes absolutely no difference what the nut is made.[/quote] I guess you could say though that if the nut is made of the same material as the fret, that the voicing of the open note would be closer to the fretted notes? Just a thought!
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Does anyone know the exact bassline of this?
acidbass replied to skampino's topic in General Discussion
There's actually a really good version of Brown Sugar on Spotify which has been digitally remastered, you can hear the bass a LOT clearer than the original mix. [url="http://open.spotify.com/track/2e9nyf96XvpCrloFmQLf7v"]LINK[/url] I've played it before a few times in bands and normally stick to the roots with a few Wymanisms thrown in, ie that little ascending run he does at the end of most of the bars in the sax solo etc. Sounds good to me! -
I never knew The Monkees has some great basslines?
acidbass replied to iconic's topic in General Discussion
Yeah I love playing the bassline in I'm A Believer - it's probably my favourite song out of my band's set! Busy but melodic! -
Bands - Film Yourselves Live For A Bit Of Honesty
acidbass replied to The Funk's topic in General Discussion
Great points Syed, they make absolute sense to me. I always try to remind myself that whenever someone talks about going to a gig, they always come to 'see' the band. This means that there is a whole other side of things to be considered other than the music - the stage show as such. In fact, because most of the audience are in no way musically inclined (unless of course you're doing a clinic in a guitar shop or something), then most will actually appreciate a bit of stage banter and choreography more than a blistering 2 minute guitar solo or the tone of your new RH450. It's a sad fact but I think we as musos have to admit it! I've never watched footage of myself throughout a full gig, but have had MD recordings made in the past where the band would sit down in the few days afterwards and listen critically to the whole set. It's amazing how constructive criticism can up you and your band's game. -
I would say, based on your preference of genre, that the 64s would be better suited to your needs. I have 84s on my Jazz and they sound a little too dark for the genres you listed (I play them regularly myself!)
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SOLD pending the usual! -
No experience of the A100 but would highly recommend a Kickback combo if your budget could stretch to it - cracking amps!
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A friend of mine in America sent me a packet of these a few years ago - I recall them having exactly that sound they describe - a 'thump' for sure! I didn't have much use for them though unfortunately as my plectrum skills were never that hot, and I always resorted back to fingerstyle. Might dig 'em out though as I'm sure they're still lurking around my closet somewhere!
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Bump!
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[quote name='ajerthebadger' post='775215' date='Mar 15 2010, 01:42 PM']I am really keen to see the new Hartke HyDrive 112 but dont know when it will be available.[/quote] Slightly OT, but it should be available mid-June according to the distributor. Danny
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[quote name='Finbar' post='775064' date='Mar 15 2010, 11:31 AM']When I did have filters before, I never found the bass lacking. I mean, I play a Schroeder 1212L at the moment which isn't the most bottom heavy cab anyway. These are frequencies which the speakers in the cab cant even use properly, so I don't think you'd notice the low end being lost at all.[/quote] I wonder would there be any noticeable difference when playing a gig with PA support, though. It certainly seems like a great idea for tightening up a cabinet onstage, but would the FOH suffer?
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I had all of the tracks as seperate .wav files at one point in the past, think it might have been on my old computer. We were given them as a mixing project when I studied Music Tech at uni, I recall having great fun putting all the clav parts together! I'm pretty sure they're available on the web somewhere.
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Hello all, For sale is a [b]Morley Little Alligator Volume Pedal (Steve Vai Signature)[/b]. I bought it for a project where I used to use it for volume swells at the start of a song - it worked brilliantly, but now that project is no longer running and I'm saving for some new Hartke gear! Works great for: - Volume swells - Cutting signal noiselessly during songs/sets - Adjusting the gain going to your valve amp without changing the tone of your bass - Boosting volume for solos (minimum volume knob works a charm for this particular purpose!) It has a couple of little marks on it but has been kept in a pedal case all of it's life, and still has the velcro attached to the bottom for handiness (see photos) I'll let her go for [b]£50 inc. P+P[/b] to anywhere in the UK. Payment via PayPal or bank transfer (Halifax) A few photos taken tonight (apologies for the obvious camera phone quality!): [attachment=44816:DSC00142.JPG] [attachment=44817:DSC00144.JPG] Cheers for looking! Danny
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This actually sounds like a really good idea and I'm surprised that the issue hasn't been raised on this forum before. In theory, I suspect it might work best placed [u]before[/u] your effects pedals in the signal chain as it will make the signal hitting them clearer also, potentially allowing for better sounds from them. I'd be very interested to hear it working in practice - though I'd be concerned that on a big stage and with PA support that the bass might sound a little lacking (through 2x18 subs for example?) Or is this just speculation?
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I think these are expected in June - can't wait!
