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Everything posted by fretmeister

  1. Realities must be considered. Would you actually sue if he still used the name? Would you spend that money? If not, then there’s not a lot of point in trying to protect it. Ultimately it’s a cover band and the questions of actual IP ownership would be very convoluted.
  2. I think the point is - if the PA is adequate for the room then nothing on stage should affect the FOH at all. I know quiet stages can be a bit "what's the point of rock n roll" but what is more important at a gig? The raging JCM800, or that the audience gets a great show and the venue invites the band back again?
  3. I don't think I have a favourite type of music. And to make matters more complicated, the stuff I listen too isn't usually the stuff I want to play.
  4. If you can do it in a little Zoom pedal then I'm going to buy one! I can do it in the Helix and there's even a bit of an attempt at a factory preset for it, but the switching is the thing - turning on and off the octaves and the 5ths for the pseudo guitar chords. Only 1 footswitch on the tiny zoom thingys.
  5. Sounds like a Synth to me. It's definitely not Gene's original bass line!
  6. That's a real bargain with the current new prices! (I don't need another one, I don't need another one, I don't need another one...)
  7. Depends on the monitoring situation. With the right monitors I'm happy with a compressor and a Sansamp / modeller. I think another factor is whether the bassist is active on stage or just stands in front of the amp. If you stand by the amp all night then I can understand wanting exactly the right thing even though the audience and the rest of the band won't notice or care. But if the bassist is moving all over the stage then the sound from the cab changes with every step from it and they'll be listening to the monitors more than the cab anyway.
  8. The Beatles wrote some absolutely amazings songs but Lennon & McCartney's voices as so poor the songs should only ever be sung by other people. Every single cover of a Beatles song is better than the original because of that.
  9. My favourite bass brand! Amazing instruments. You can adjust the string spacing at the bridge. I used to do that on my 5.
  10. Glockenklang Aguilar - AG700 / DB751 Ampeg - various SVT models Orange OB-1 500 I'm sure there's loads more.
  11. The finish is a bit misleading - the green screen and chroma filter make the bass look like it has a chromaflare paint job. It hasn't - it's just the usual metallic green! I don't have a blue screen to have a different option. It's a great piece. The arrangement actually has it an octave up, but if I'm playing a 5 I might as well stick it lower!
  12. I like that. I'm glad it's not 34 - with that body and the strap button at about the 13th fret I could see the balance being a problem with a long scale.
  13. This post cannot be displayed because it is in a forum which requires at least 1 post to view.
  14. Unscrew the socket mount to the bass and then pull the entire socket out of the bass. Then on the side there is a retaining screw. Undo that and keep it safe. The black plastic part will now slide out of the metal housing The red plastic release button has a spring under it - lift away the red plastic and remove the spring. Then put the red plastic button back where it was, and re-assemble. Job done!
  15. The locking jack doesn't have to be replaced. It's a simple job to open up the socket and remove a spring. Then it behaves just like any other socket would. It's a 5 minute job and a big improvement. Might as well do the Preamp Plug swap at the same time - another zero cost mod that makes a big difference.
  16. LEDs in the neck have been a thing for decades. Alembic / Status / Warwick - loads of makers have done that. You can even get them installed as an after fit. The side dots can be very useful if you are on a jet black stage. The player can avoid getting a wrong note and the audience can't see it so they don't ruin the visuals. I'm guessing you wouldn't like this though...
  17. Agreed. I'm a bit of a stuck record on that point. In the past I had a Canadian Dingwall 37 inch at the same time as a 34 scale Marleaux and the Marleaux had a much better B string to the point of it being a bit comical. Construction, strings, pickup type and placement are more important than scale length IMHO. It's like 5 string P basses - they just don't work if the pickup is in the usual place. Maybe there's a node on the B string that is in a bad position relative to the pickup, or something else, but something makes them sound horribly flabby and indistinct irrespective of how good the rest of the ingredients are. But even a simple thing like doing a reverse P and having the BEA side be closer to the bridge makes a remarkably big difference on the B string.
  18. Yes - thomastik ti flats for that video. Just the normal 5 string set. The sound I was using was also put together for the style of music. At the moment the bass has some Steel roundwounds on it for some rock tunes I was working on. If I get a mo next week I'll re-record this tune with the same amp sounds but with the roundwounds so you can hear the difference. I do all recording with a Helix and that sound is saved so I can come back to it exactly every time. Edit - the pickups need to be the 6 string version to fit the angle. So they were a not inconsiderable £299.00.
  19. I have the 30-32 EHB model Here it is with Aguilars and Flats. This tune has plenty of B string use.
  20. Component failure on the board. The entire board has to be replaced. It doesn't happen very often but when it does it gets a lot of chat because the repair is expensive compared to the cost of a new amp.
  21. By “successful” I don’t include having to be next to trombones at 9.30 in the morning! Should be a war crime.
  22. because it’s not a double blind experiment in lab conditions and is also subject to YT compression and god knows what else. If the experiment is done properly and the results are repeatable then I have no trouble in accepting them. Stage 2 will be to try to find out why 2 instruments that are identical in every way can sound different.
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