fretmeister

I do. At least once a month I think my Ashdown has packed in and get really upset and then I remember to check the little headphone out switch that mutes the speaker outs…

They are parallel so two 4 ohms are 2 ohms total load. You should set the amp to 2 ohms. If it’s still working ok don’t worry. Amp designers often build in a bit of user error into the specs!

Just delivery. That’s on top of the picks.

£14 delivery for 3 picks!

That's a good point.

I don't think boomy is the right word. A P bass is all about the mids and a jazz is always a bit scooped when using both pickups but a J does have more tonal options. Just moving to the neck pickup alone brings back plenty of mids, but they can be balanced with the bridge pickup and set 3/4 balance. Until I had my finger injury I used my fingers for almost everything aside from tracks that just sound wrong without a pick. I never got the same type of attack as with a pick, but I still got an aggressive attack partly due to string impact with the frets. It's definitely a different sound and whether it works depends a lot on what the rest of the band are doing. There's hardly any P bass types used in really heavy modern metal as they get flubby / undefined very quickly. But with a more traditional gain level a P can cut through because of that mid focused tone. Steve Harris plays a P with fingers and flats and cuts through 3 guitars every night. Can you borrow a J to try it at a rehearsal before you spend any money?

I'd like to try those. But their own website shows they are sold out and I can't find a UK dealer.

I’m thinking about swapping my Super Twin for a Two10 to save a bit more room, and because I slightly prefer my One10 tone with my favourite Mark Bass head. I don’t need the monstrous volume and low end of the ST either for my big band. I don’t usually have cabs with tweeters, but now that it is an option on the x10 cabs I’m thinking about it. Mainly for curiosity reasons. Has anyone got a x10 cab with a tweeter? Is it a good tweeter or is it a hissy pile of @rse like some of the Markbass tweeters are? Ta.

I’m going to get a set and try them.

Just play it in the different position! It will only take a few runs to get it right. This is how people change keys for every other instrument!

A Barefaced Super Twin would be just the job. Bit more expensive though, but you mind find a used one.

With a tweeter it probably goes up to 16Khz to 20Khz. Without it probably tops out at about 5Khz. If you cannot defeat the tweeter that could be a clacky pile of derrière unless you want to be Marcus Miller. Or Fieldy. For some reason. Every 8x10 sounds different even if they are all sealed. Make it ported and add a tweeter and it's even more different. The beauty in the Ampeg is that by any objective standard it's an absolutely sh1te design with massive compromises. And that's what gives it its unique character. There's not a lot of bass, the mids are farty when driven by an SVT and there's not a lot of top end. Often sounds crap on its own... and then amazing when the rest of the band get rolling. I get the feeling that if you buy anything else - even the Barefaced - you will still have that itch to scratch and you won't be happy until you have an Ampeg. Set up an ebay notification for an Ampeg and put wanted adverts up on here and on thefretboard.co.uk and maybe even email your local rehearsal studios and equipment hire places. Somebody will be looking to get rid of one before long. From a practicality POV they are as useless as guitar 4x12 cabs have become. They are selling for peanuts as well. Get the Ampeg while you are still young enough to move it about!

It happens when the wood dries over the years. Quite normal. Doesn't costs a lot to get them sanded down. I've tried it myself but I could never get the ends as smooth as a pro would. Me using a £5 set of Amazon brand files probably didn't help!

Alas none of my heads run that low!

My Super Twin goes so damn loud I actually worry about the health and hearing of people who use one at full throttle instead of using the PA. It has a silly amount of low end too. In most venues I'm using the amp EQ to lower the bass rather than boost it. My Markbass AG1000 has the low control at 65hz and that's a good choice for removing some low end. Then I boost a bit at 100hz (with a jazz bass anyway) so there's still plenty of fullness happening but without any mud. Every now and again I think about swapping the Super Twin for a a BF Two10. I don't really need anything bigger. The Six10 would probably be easier to live with because of the wheels but it's overkill, and the Four10 is too heavy for me without wheels, so that leaves the Two10. I wish Alex would make a vertical Three10 with tiltback wheels. That would be perfect for me. Nice and slim for a small stage footprint, high enough to hear when standing close to it (could even tilt the top cone a bit in the baffle). I know getting 3 speakers to hit 4ohms could be an issue but Ashdown have managed it with their vertical 3x10. Presumably with adding a resistor or 3 rather than redesigning the speakers themselves to be 12ohms each. Anyone know? I'd order that on the day it was announced. Even, and I say this with dread, if the wife said no! In fact, I'm going to buy a Euromillions ticket. And if I win I'll custom order one from @alexclaber. He might start by refusing, but if I've won that jackpot I'm pretty sure we'll come to an arrangement quite quickly! Introducing the fretmeister signature cab, the GronkygrizzgrindywallopThree10... * * Optional extra for £100 is to remove the name of the cab... and the chromaflare neon paint job.

I was only half serious with the descriptions for sound but as I wrote it, it seemed to make some sense at some level. Whether my gronky is the same as another player's gronky is a completely different kettle of grizzgrindywallop.

I don't know if it's my age, but I'm increasingly moving towards a P bass with an Ampeg sort of approach to everything. It's like my changing tastes are violating everything I hold dear!

I've got 2 weeks off. Quite nice to not have to put up with trombones at 9.30 in the morning!

Those Warwick Red labels had £10 shipping though!

If a rock band can all re-tune their instruments by the same amount then the approach is practical. Happens a lot when a new singer has a lower register. Nice and easy to tune to D standard for everybody, but for ease of reference that D chord is still referred to as E so everybody knows what you are talking about. But if you add any other instrument where that tuning choice is not possible then that approach just doesn't work because the player of that instrument needs to actually play differently. Piano / brass / reeds etc etc can't be detuned like a guitar can. The fact that many brass and reed instruments are transposing makes it even more of a pain. I know some modern keyboards can have Middle C reset to a very wide range but every keys / piano player I've ever met would rather fosters on the power supply than take the cheating option. So it can be very practical. Doesn't mean it's musically correct. Sounds like the OP's mate would have a meltdown in a band full of transposing instruments. I know I did the first time I joined a big band!

There's a whole bunch of Bottesini double bass tunes where he's really messed about with the tuning. I suspect he did it to enrage the other DB players of the time who were already having a hard time believing he could play that way.

Yes. If the tune was in E flat major, by tuning it up he'd be playing it in E major. E flat major has 3 flats in the key signature. E major has 4 sharps.

Loads of difference! Different drivers, different bracing / construction, power handling. Some are really two 4x10 that are joined together. Some are really eight 1x10 where each speaker is in it's own little box. Some are just a giant barely rigid shell. If you are going to go full madman with this (me, jealous?) then save up and get the Barefaced. Then you get 1 column that have been LPF'd to get as much dispersion as possible, you get the lowest weight, and unlike the old heavy ones nobody wants, it will keep far more of it's value. Do it once and do it properly.

That's very clever!

These are a couple of Helix tone tests I did for 2 new songs I've written. Drums are from EZD2 and all guitars and bass are Helix. I think they sound pretty good. They are not mastered and only barely mixed. https://soundcloud.com/user-107940438/voice-of-derrière-riff-test/s-a3AKWXWGXue?si=40238d6462954e53b4e9d3a669c4a713&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing https://soundcloud.com/user-107940438/specific-ocean-tone-test-1/s-uYCoJKFUgcE?si=40238d6462954e53b4e9d3a669c4a713&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing