brensabre79

[quote name='Dad3353' timestamp='1379965426' post='2218910'] The humble triangle is often under-estimated in its emotive power and ability to 'drive' a full orchestral piece to frenzy. Well-arranged, such choice parts are reserved for the more experienced percussionists. I often weep just at the thought... [/quote] My dad once knew a percussionist who was a 'triangle specialist', I must admit my knee jerk reaction was "I bet he's not a rich man" but having heard him play, I can honestly say I was staggered by what it is possible to do with such a mundane instrument.

Awesome online resource! You should check out the Walter Piston book on orchestration if you can. In many ways it has superseded the RK

WOW! only page 2 and we've gotten into a political debate. Interesting though it is, I only wanted to know how much these amps were and where I can get one... At the end of the day everybody in the chain is making money, the longer the chain gets, the higher the price gets. At some point though, this Mesa amp may get too expensive for most people to justify owning. So the chain has to break. e.g. the distributor won't bother to import them because nobody (or not many) will buy at that price. The fewer the orders, the more expensive it becomes to manufacture, supply, distribute etc.. The end result is nobody wins. I had a chat with my local Mesa dealer the other day (who, incidentally didn't even know these were out yet, let alone how much they'd be) and heard him plea on the phone to his manager to see if they could get one in for me to try. It wasn't going well, they had a Mesa amp in before, for 3 years in fact, it was just too expensive for most people when compared to other lines they carry. Eventually they sold it, probably at near what it cost them (it kept getting reduced). So they couldn't really justify getting any more Mesa stuff in without a deposit. And so the chain breaks.

I think Happy Jack has the right idea. If you're going to pay for a good luthier you might as well just order a new neck from Warmoth - they are pretty consistent - and sell the one you have to someone who prefers a more substantial profile.

I think experiences vary considerably. Having owned and played both the original and the copy the playability factor really varies from bass to bass. The standard scale length of the copies combined with the body design can make them uncomfortably large for some, however although neither the best or worst basses I've played I have found them to be of a consistent quality. Having played quite a few of the originals in my time I would never, ever, buy one without playing it for quite a while first.

[quote name='Dave Vader' timestamp='1380189157' post='2221971'] That is both a fine home, and a fine studio. Is that a solid-stately home studio? [/quote] Thank you sir, it's old and draughty and certainly not in a solid state! but it is home (and work) Loving the Thundercats headstock, not sure Ernie is in the best listening position though

It is possible. I would only advise doing it if you know what you're doing. Otherwise go to a GOOD luthier. Matching the finish will depend on whether it's poly or nitro (I think nitro is MUCH easier). The stability of the neck is due in part to the thickness, a thinner neck will naturally be more bendy.

Personally I would not put the subs on the stage, most stages are hollow underneath so you'll get a truckload of booom on stage whereas everything out front will sound quite thin by comparison. Everyone on stage will tell you to turn your bass down even though nobody in the audience can really hear it. If you can, I'd get your bass guitar speaker off the floor of the stage too. Put the subs in front of/at the side of the stage at floor level. Then put the tops above head height (audience head) by whatever means and you'll be fine.

[quote name='Salt on your Bass?' timestamp='1380191567' post='2222021'] Hmmm. Dropped my compact down a full flight of stairs once accidentally landing against a door. Not a mark on it, nothing fell off, rattled or affected the cab in the slightest. Whilst I wouldn't recommend doing this - they can withstand it. Sounds of a rash comment that.... [/quote] When I picked up my S12 a couple of years ago Alex was in the process of destruction testing a compact by launching it down a flight of stairs onto a concrete floor. I think it took four or five goes before it finally cracked. Say what you like about the build quality (which has improved generation on generation), but you cannot say these things are not tough. I think if you are unlucky some of the Gen 1 and 2 may have a weak spot, if you hit them there they will crack, but I don't think its any different to cabs by any other manufacturer. Look on eBay at all the music stores selling slightly damaged amps and cabs.

I don't think it poses any threat whatsoever to Jens' business. Anybody who cannot begin to afford one of his basses but likes the look of them (not me!) rather than appreciating the level of craftsmanship would love this. Maybe the reason Jens was so gracious is that he is quietly flattered... In a way, it's a bit like a well known and distinctive bass brand that has been hotly debated on here (clue: it rhymes with Schtickenhacker) except i believe Ritter instruments are well made and innovative - which could be another reason he isn't all that bothered by cheap copies.

Taken a couple of years ago...

Taken a couple of years ago...

DI I wouldn't go near mic'ing up a bass amp in this day and age. Mic too close and you might as well DI anyway, further away you get more air in the sound, but if the acoustics in your room aren't top notch you'll have all sorts of trouble. Lower frequency resonances are much harder to solve than the higher ones where a bit of foam will do the trick. DI, and if you really want to get a range of bass amp sounds get a VST (Ampeg do one) and you're done.

Or if you want 'Fender like' as opposed to 'Fake Fender' you could try [url="http://shop.rothkoandfrost.co.uk/custom-headstock-waterslide-decal-p/sf118.htm"]here[/url]. (see, I read the OP before resorting to sarcasm)

[quote name='chris_b' timestamp='1380109369' post='2220867'] There are players today still gigging gear I was using 30 years ago, so I guess I haven't [i]needed[/i] anything I've bought since then. [/quote] I guess those guys don't have bad backs then? or maybe they do....

I'll echo what some have said, it really depends on what you want. Someone asked Bernard Edwards what strings he used on the Chic albums once, he said he didn't know what strings a Music Man came with - he never changed them. However, new strings are not just about brightness, although that is the most noticable thing. a lot of sustain and tone in the midrange and even low frequencies can be affected by the age of the strings, especially roundwounds. Also, brand new strings will change tone dramatically for the first hour or so, so if you put on a fresh set, then do several takes, you may hear the tone change between each one. If you're recording several tracks or an album the tone will change between the songs too! And like Simon says, you can always EQ and compress/expand to get rid of stuff that is there, but you can't put back in what isn't. I've always preferred new, but played in, for recording. Bright but not brittle. Easiest way, is to change them for the practice session before the recording session. They always seem more consistent to me that way when dropping in and doing takes.

[quote name='wateroftyne' timestamp='1380099377' post='2220657'] Hmmmm. Here's an example. Mesa Walkabout Scout 12: US: $1600 UK: $2800 (i.e.£1750 from Thomann) That's £1000 mark-up. Even when you take into account shipping it across the Atlantic, taxes, etc.. something's wrong there. [/quote] Yep, almost cheaper to fly over and get one yourself! If that's the kind of markup these will have I might consider a holiday to Petaluma California However, they are around £1,200 in the US, so the estimated £1,500 UK seems pretty reasonable to me. Fingers crossed.

I asked Alex that very question yesterday. The answer is no. You can only get them with a new Cab unfortunately. But as the Gen2 cabs were designed around the drivers they have in them, not the new ones, it might not be an optimum replacement anyway... It's always very easy to think that what you have is inferior when a company releases a new model. My Super 12 is still by far and away the best cab I've had. And it IS still a fantastic product. The only reason I'd have to change to a new one is for a little more LF sensitivity so I can run my amp flat. It's not really enough of a reason to upgrade IMO. These things are not like iPhones, they are built to last!

Dan I'm with you on the Jack sockets, as for the the other thing. I dunno, I want to try one out and see if it's got 'that' feel / sound - but if it hasn't there's a good guess as to why... I reckon the Eight;88 will be twice the power, twice the tubes (and probably nearly twice the price!) If it's a well built and efficient amp I don't reckon I'll need more than the Four:88 personally. Molan, are you guys getting these in then?

I got an email the other day directing me [url="http://www.mesaboogie.com/Product_Info/Bass_Amps/prodigy/bassProdigy.html"]here[/url], after months of delay it seems they are finally shipping these. On paper it looks awesome, just what I have spent years searching for in fact. An all valve dedicated bass amp, that's as small as a lunchbox! So does anyone know how much they will be this side of the pond ($1799 in the US), and who is getting them in over here?

Sadly it's the wrong end of a Wal for me. Love the sound, hate the necks - looks like i'm not the only one

Could it be 'Made in Japan' on the headstock?

Check out the Carvin lightweight amps too - the BX500 has a lovely warm tone with the right settings and far less money than a Genz Benz (which my Carvin replaced).. and plenty loud enough for ya!

Check out [url="http://www.geminipickups.co.uk/"]Gemini Pickups[/url]. Contact Mike and tell him what you're doing, he was very helpful, and also has a RockinBetter. You will have to mod the plate that the bridge pickup sits on with any Rick replacement PU, or if your RB has one in you can re-use it. The pickups were the first thing I changed on my RB because the stock ones are awful, and mine were microphonic. The Kent Armstong toaster one is pretty good, its a humbucker too, but they do not do a bridge PU.

I got a BX500 from Bassgear.co.uk for under £400, it absolutely destroyed my Genz Benz Shuttle in terms of tone, versatility and it is seriously LOUD! Couldn't be happier with mine and considering the price of the 600w Shuttle I had before they are a bargain. It's also the closest I've got to that all-valve immediacy and bounce from a hybrid / solid state amp. I think the BX250 is pretty much the same front end, without the graphic EQ. And from the review above I would say the experience you had was similar to mine. So don't rule them out, check out the price you can get one for. I think they are very well engineered pieces of kit, Carvin don't spend much money on marketing (unlike other manufacturers) so I think this is why they can keep the prices down.