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Ben Jamin

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Posts posted by Ben Jamin

    Irrational dislike?

    in General Discussion

    Posted · Edited by Ben Jamin

    Squier. Because deep down it's not a Fender.

    Fender. Because everyone has one.

    Stingrays. That cool hip Fender-alternative that... everyone has. And everyone expects you to play RHCP.

    Those GruvGear FretWraps and similar mute things that go up by the nut. An early warning of incoming incessant bass soloing.

    Chorus on bass. Why?

    People who say: "this bass was 'born' on...". No it wasn't. Your Fodera did not emerge from a pregnant woman.

    Keyboard players.

    Vocalists complaining about this week's cold/flu/virus/sore throat.

    People who wear sunglasses inside on-stage.

    Guitarists who run two amps in 'stereo'. No-one cares.

    PRS guitars.

    Ibanez. Association with silly excessive guitar solos.

    Musicians who ask for "just me and the lead vocal" in their in-ear monitors.

    Lists.

    SOLD DHA VT1 Bass Drive (UK-made valve overdrive pedal)

    in Effects For Sale

    Posted · Edited by Ben Jamin



    [font=arial,helvetica,sans-serif][size=4]Reluctant sale as I need to raise funds for a festival (boring things like amp covers/cases etc) and whilst this pedal sounds amazing the band I bought it for has ceased to exist, so it's been unloved for a few months now - really it should go to someone who'll make better use of it! Hand-made by David Hall Amps in the UK - here's what they have to say (from their website):[/size][/font]

    [i]"The VT1-Bass-Drive uses a single 12AX7 (ECC83) valve to generate classic pure valve tones.[/i]

    [i]The VT1-Bass-Drive is a low to medium gain effect and is intended to be used in front of a valve amplifier, but will also work well with solid state amps. The foot switch provides a true by-pass and the blue LED back-light indicates if the effect is on or off.[/i]

    [i]There is an extra i/p pad pot on the back of the pedal on the bass version which is useful when dealing with active and passive bass signal levels. The controls are very simple, i/p pad (bass only), Level, Gain, Colour level, 3 position Colour select switch and a bright switch.[/i]

    [i]Level sets the output level of the effect to your amplifier, there is a fair amount of gain generated by the valve and op-amp and this will overdrive the input of your amplifier.[/i]
    [i]Gain sets the level into the second stage of the valve and hence the level of gain. Use your volume control or on your guitar and/or the i/p pad on the bass version to control the gain on the first stage of the valve, you will find that the VT1-Bass-Drive responses very well to this and you can control the break-up distortion like this.[/i]

    [i]The 3 position Colour select switch is used to select Colour 1, 2 or non which is the centre position. When Colour 1 or 2 is selected negative feedback is introduced into the circuit the level of which is adjusted with the Colour pot. The Colour effect is best heard at high gain which is an increase in distortion and compression."[/i]

    Comes with the 12V power supply and is in great condition other than the knob for the i/p pad on the back which has fallen off and got itself lost - doesn't affect the pedal's function at all but I will include a replacement.
    These retail for £119 - I'll do[b] £60 posted[/b]? :)

    Cheers!
    Ben

    So what is 'tone' actually made of?

    in General Discussion

    Posted · Edited by Ben Jamin

    [quote name='Lowender' timestamp='1374018841' post='2144406']


    I think we have a semantics problem here. What are you calling frequencies? Two basses can be playing the same note with the same EQ (same frequency curve) and sound completely different., If the bass has an inherent "frequency difference" then it would be a matter of adding or subtracting frequencies but that's never the case. Tone is also in the wood and the electronics, even the shape of the bass will be a factor. You can call it ALL frequencies but that's misleading IMO.
    [/quote]

    It's sound, so ultimately it's all just frequencies. But not everything can be changed with a graphic equalizer. The difference between bass-specific sounds is definitely down to the construction and hardware/electronics/strings/musician - all of which produce different overtones aside from the fundamental frequency. No instrument (other than a synthesizer) can produce just a fundamental frequency - every instrument has it's different overtones which give it it's own 'voice'. Hence flutes sound different to violins. You've got to factor in waveform, attack, decay, sustain and all that stuff too - EQ can't do much to change that.

    So what is 'tone' actually made of?

    in General Discussion

    Posted

    I think tone is just balance of the output of frequencies, the keyword being balance. To get the best 'tone' you've got to look at the context of what you're playing - it all depends on what you're trying to achieve with your part. Are you underpinning the harmony of a dense mix of instruments with simple but solid low-end (some kind of rock or dub?) or are you playing more melodic lines with movement that needs more clarity and note definition (maybe a small jazz band). You want your part to be effective without getting in the way of other parts. A bass tone that sounds great on it's own can often just muddy up a mix by clashing with the frequency balances/'tone' of the other instruments, or fail to output enough in a certain frequency range to fill the gap required. Sometimes other musicians are at fault for not leaving enough room for your part - classic examples being guitarists who have too much low mid/bass in their overdriven tones (sounds great by itself for sure) and keyboard players who just love their big thick pads and make full use of the low end of their 88 keys (again, probably sounds great by itself) So for me context is the most important thing in achieving the balance.

    In terms of practically achieving the right tone, I think technique makes a big difference (the whole 'it's in the fingers' thing) in terms of the getting the right attack/decay/sustain and harmonic content etc. In terms of bass playing the main variables are probably where you hit the string and with what part of your finger/thumb/plectrum/nail/toe/whatever and with what force. Which string you use makes a difference too - an E sounds different on the A string than it does on the D or E - on some basses this is more pronounced than others, depending on the instruments' construction and what type of strings you're using and ultimately how balanced the tension is. Different instruments will lean towards different harmonic content because of their construction and critically their electronics/pick-up placement (which is why a Precision will always sound like a Precision, a Jazz like a Jazz etc). Get it right there, and then move onto EQ/compression. Carve out their frequencies that you don't need/interfere with other parts and emphasize frequencies that help you achieve what you want from your part. Compression for bass isn't a necessity if you're technique's fine but it can help emphasize different parts of your playing and shift the harmonic content around a bit (it's a good way to engineer a punchy kick drum sound, for example)

    Ultimately though, it's all up to the guy at the back of the venue/in the studio who sits behind this, so being nice to these people can really help with your tone ;)

    Can anyone ID this mystery Framus bass?

    in Bass Guitars

    Posted · Edited by Ben Jamin

    My Dad's been looking to take up bass for a while now and yesterday he showed me this bass - he'd been given it by a local church he works for - it'd just been sitting in storage for years. It was covered in bits of white paint and general grime/dust and I didn't think much of it until I plugged it in and it sounded/played pretty good! Then I noticed it was a Framus (or claims to be) with 'made in West Germany' stamped on the neckplate. Got a bit excited and naturally offloaded all my Framus/Warwick historical knowledge in true geeky Basschat fashion, which didn't mean much to my Dad. Or anyone really. Anyway I gave it a good clean - the truss rod needs a little tweak and it could with some new strings, but everything works great - every fret is good and the intonation is all good. The pick-up sounds really nice.

    I just can't find any info on it - all the other shortscale Framus' I can find on the web seem to be semi-hollow and pretty different! Just wondered if anyone could shed some light as to what this bass is?

    Cheers!
    Ben :)

















    What's the real reason you want amps & cabs on stage? Rather than a POD/SansAmp etc.

    in General Discussion

    Posted · Edited by Ben Jamin

    I don't think there's any tangible difference in set-up time. It doesn't take me much longer to connect a speak-on from my amp to my cab than it takes to run an XLR to a desk. In-fact arguably it'd take longer to set up a bigger PA and run a more complex monitor mix. My amp (Ampeg PF500) is smaller (or at least the same size) and much easier to use than a Pod. My cab (Barefaced Compact) weighs less than my bass in it's gigbag is is considerably smaller than the equivalent PA subs/monitors that would otherwise be required. Mainly though, my rig gives me the freedom to play in pretty much any venue (as long as there's electricity). In the bigger venues I play with big PA I will quite happily DI out/mic up and use my cab/in-ears for monitoring. In the smaller venues - pubs/outside marquees/rehearsal rooms with a small PA etc then my rig is required for obvious reasons. Either way with my set up I can get a consistent sound and adjust it easily with my amp/bass/fingers.
    Most of the venues I play are fairly big and have a more than adequate PA to run bass through, but for everything else, which there is still a lot of, a Pod just won't cut it - ultimately for me it's just needlessly complicated in terms of programming (I run my amp generally flat and use my bass' pick-up configurations/tone controls/playing technique to change sound) and impractical in terms of the lack of an output of any actual sound.
    I can appreciate that works for you but I'd seriously challenge you to try a rig for a while, maybe see if you can borrow something for a while, and see how you like it - just being able to walk into any old venue and gig in it with no hassle with a easily equalised quality sound that doesn't rely on the quality of a PA. :)

    What the f*** was PUNK?

    in General Discussion

    Posted

    [quote name='RhysP' timestamp='1370701510' post='2104615']

    I think that's it really - they're all too materialistic & money grabbing to give a f*** about anything else.
    (Obviously that's a generalisation, but certainly the only thing the majority of them seem to do in Cardiff is shop & hang out in expensive coffee emporiums where they text each other instead of actually talking).
    [/quote]

    As a 19 year old, I think that's pretty much hitting the nail on the head. Most nowadays can get into uni, borrow a few grand on a student loan, have all the toys, go out every other night - general materialism, shallowness and apathy really. Some people communicate so much through texting and social media it's like they've forgotten how to hold an actual conversation.
    Could do with a bit of a punk renaissance really!

    Lights and noise?

    in Repairs and Technical

    Posted

    Thanks for all the replies guys, you rock :)

    It sounds like it's probably that RFI in the air then, as the noise changes quite a bit as I turn/move around the stage. There's no noise when the lighting is turned on and using power (without the faders up, so not emitting any light).

    I'm playing there tomorrow night so I'll try a few things out re power supply and chat to the bloke in charge of the lighting :)

    Lights and noise?

    in Repairs and Technical

    Posted

    Having a bit of a problem with buzzing in a venue I play at lot - not sure how to fix it! The lighting (it's a fairly big place) seems to make my bass pretty noisy! I play a USA G&L L2500. It's the same story, worse in some cases, with a few other bassists/guitarists who play there too. Standard, but quite big, par-can wash out front with LED bars behind. Only happens when the lights are on. The buzzing changes frequency/gets louder or quieter depending on which direction I face on the stage. When I run the pick-ups in series it's quite loud, but it's barely audible when I run them in parallel. When I used my Tech 21 Red Ripper (distortion pedal with buffered bypass) there was less noise when turned on than off!

    I'm quite confused! It's not loud enough to be a massive concern but it's noticeable inbetween songs and in quieter moments etc so I'll just roll down the volume on my bass when not playing, which kills the noise - so the bass must be the starting point. Anyway, weird!

    Any help would be much appreciated!

    Cheers :)

    Big Pedal/Studio Clear-out! Compressor - Overdrive - Looper/Switcher - Power Supplies - Channel Strip

    in Effects For Sale

    Posted · Edited by Ben Jamin

    Just a few pedals to sell! All are in immaculate/as new condition (rare studio use only) and come with original boxes etc. Postage included in the price, open to sensible offers.

    Here's a quick list so you can see if you're interested to save you scrolling through all the descriptions below!

    [size=3][s]Goodrich Volume Pedal L120 [color=#ff0000]£130[/color][/s]
    [s]Line 6 M13 [color=#ff0000]£200[/color][/s]
    Preamp SSl Alpha Channel Strip [color=#ff0000]£450[/color]
    Eventide Powerfactor (big pedal power supply) [color=#ff0000]£175[/color]
    JHS Pulp and Peel Compressor [color=#ff0000]£130[/color]
    Divided by 13 Joyride [color=#ff0000]£150[/color]
    [s]Buzz Electronics 8-way Looper/Switcher [color=#ff0000]£100[/color][/s]
    [s]Strymon Bluesky Reverb [color=#ff0000]£200[/color][/s]
    [s]T-Rex Fuel Tank Jnr (compact power supply) [color=#ff0000]£70[/color][/s][/size]

    JHS Pulp and Peel Compressor £130
    [size=3]Most compressors you see are based off of the Ross/MXR design that yield very squashed high end and a lack of upper end clarity and definition. The Pulp n Peel is not. With the PnP you will find that your guitar's natural color and attack stay in place instead of being forced under a hard and un-transparent squash. Another advantage is its low noise floor and super headroom that allows it to be used as a boost in front of or behind your favorite overdrive/distortion or fuzz. The PnP excels in the fields of blues, jazz, funk and classic rock because of its natural transparency and cooperation with single coils as well as humbuckers. The controls are as simple as it gets with compression, volume and a clean blend knob to dial in your original untouched signal. The idea behind our design is that you will never want to turn it off, and if your looking for the perfect "leave-on" compressor that will make your rig sound like a million bucks, then look no further. Once you have experienced what it does to your rig, you will never be the same.[/size]

    Preamp SSl Alpha Channel Strip £450
    [size=3]With the classic combination of a mic preamp, filter, EQ and dynamics, the XLogic Alpha Channel brings SSL's sonic legacy bang up to date in an analogue channel strip designed to provide the perfect front end to your digital audio workstation. With all the features needed to record great vocal or instrument tracks, the Alpha Channel offers a studio class mic pre and processing based on SSL's years of experience in designing the world's leading analogue recording consoles. A huge proportion of the music you know and love was recorded on SSL, renowned for the superior audio qualities you've heard on countless hit records. That elusive sonic ingredient is here in the Alpha Channel.[/size][list]
    [*][size=3]Professional ultra clean mic preamp with line level & Hi Z instrument input switches[/size]
    [*][size=3]'Variable Harmonic Drive' circuit; a Time Machine of distortion characteristics[/size]
    [*][size=3]High Pass Filter with selectable 40Hz, 80Hz or 120Hz cutoff frequency[/size]
    [*][size=3]Built in professional quality Analogue to Digital conversion - as standard[/size]
    [*][size=3]Auto sample rate sensing and self adjustment[/size]
    [*][size=3]Three band SSL parametric EQ with mid freq Q control and dual LF curves[/size]
    [*][size=3]Intelligent auto compression that maximises recording headroom and avoids DAC clipping[/size]
    [/list]
    Eventide Powerfactor £175
    [size=3]Large pedal power supply! The PowerFactor from Eventide features 10 outlets configured in 7 isolated sections and 3 powerful DC sections with 400mA each. Temperature monitoring is also featured so you will never burn out when performing. Three 12V outputs and seven 9V outputs with LED monitoring for each.[/size]

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