Kiwi

[quote name='Adrenochrome' post='278998' date='Sep 7 2008, 10:46 AM']I'd be running Neodymium cab(s) with a class D head right now if I had the cash. Weight is a big issue when fuel costs are high with quite a lot of driving to gigs.[/quote] Its a successful combination for me. I don't think it makes much different to fuel costs where my driving is concerned though

You guys have done some outstanding work here Nik. Thanks so much!

hi shaker, welcome aboard!

some more information that I found FWIW [url="http://www.speakerplans.com/FORUM/forum_posts.asp?TID=12354&PN=1"]http://www.speakerplans.com/FORUM/forum_po...=12354&PN=1[/url] [i]"there should be no difference in the heat dissipation with the magnet being neo or ferrite. the amount of heat in the rear chamber is down to the electrical energy dissapated in the voice coil... ...neo magets are used to give the same flux denisty as a ferrite one, but with a smaller (less mass) magnet it would be fair to say the [u]i have heard of some problems with neo magnets shifting [/u]when moving cabinets shortly after heavy usage. either way i have no experience with the driver mentioned."[/i] [url="http://www.neodymiumloudspeakers.com/"]http://www.neodymiumloudspeakers.com/[/url] [i]"Pictured above the B-Hive Motor. Neodymium Ring Magnet. [u]New ribbed design to increase heat dissipation[/u]"[/i] (and enhance pleasure?) I make no guarantees as to the accuracy of this information BTW. Some members on speaker forums say the neo magnets are more expensive which, according to one pickup maker I've talked to recently, is completely untrue. I've owned and gigged a neo cab for nearly a year and had no issues at all. There's a slight mid range hump but thats a positive, I can hear myself better.

The Eden forum would have you believe that neo magnets are more susceptible to heat fatigue and have a shorter life. I've not managed to find anyone who has experienced heat dissipation issues or ever had magnets fail on them yet though.

I would be quite interested in seeing how my GB head sounds through one of those BFM cabs. Unfortunately the amp only has speakon output sockets.

[quote name='bassbloke' post='278395' date='Sep 6 2008, 06:30 AM']Also, the type of wood, neck joint, neck construction (laminate vs single piece), body construction (laminate vs single piece or two wings), bridge (brass, wood, top vs throigh body) will have far more of an effect on the sound that the few grams of wood removed for the control and maybe battery cavity.[/quote] Lets not also forget this is Carl Thompson, so for the sake of providing a bit of context on the contributions of wood to tone... [i]"Aaron: Suppose a customer is describing the sound they wanted to get from a bass. What key words would make you think a set neck would be best for that person or a bolt on? Carl: I have no idea. I wouldn't know what anyone was talking about. Anyone talks about how I can get them the sound I don't know what they are talking about. Somebody wants a bright sound. What's a bright sound? Explain to me exactly so I understand what you mean by a bright sound. Explain that to me. I'll make you a free bass if you can do it. Where I understand exactly what you mean. Without question I have no doubts in my mind exactly what you mean by a bright sound, or a funky sound or a warm sound, or any other kind of sound. Explain it to me exactly so I know exactly what you're talking about. And then I'm supposed to go find wood that's going to get you that exact sound. No matter what I do to the wood. Whether I bolt it in or glue it in. There's just so many things involved there to really get a good sound. I get a good sound all the time if that's what you mean. I can get a good sound out of anything. I never even thought about it. When I first started making the bass. I was not disappointed with the sound of any bass I ever played. I'm still not disappointed. I can play any bass and get a sound. I like playing the Danelectro basses. I think they are great. I get a good sound out of a Dano-I really do. I can get a good sound out of a Fender. I can get a good sound out of almost anything, you hear me. But I have a sound in my head that I hear and I just find it on any instrument, somehow. So why would anyone want to buy my instrument if I can get that sound? I can get it. Because I have an attitude in my head when I'm going to be looking for something. A certain piece of wood is going to get me something. I'll get it. I'll find a way to get it. I'll get it. I'll just get it and you should be able to get it too. "[/i] [url="http://www.ctbasses.com/CTinterview.html"]http://www.ctbasses.com/CTinterview.html[/url] l think a piezo system designed for acoustic instruments would be unusual but could fit the bill

I've found EMGs do have a very distinctive voice - thats a matter of taste obviously. I can't actually visualise what you mean by more wood. *cough* There are varying levels of transparency offered by different pickups which all have their own plusses and minuses. If you don't know what you want specifically in terms of tonal character then the only answer is probably to either take Carl's suggestion (EMG's are very practical in terms of how they handle noise and stuff) or go and try basses where pickups have been changed around between identical models. If you want neutrality then why not go for a piezo based system in the bridge with a buffer preamp (or a John East pre which has buffers built in)?

oh, thats a bugger.

Fascination by Alphabeat its full on and boisterously happy 1,2,3,4 by Feist its uplifting and gentle at the start and climbs towards a soft euphoria at the end Switch by Planet Funk this ones not necessarily a happy song but its got an uplifting and cheerful chorus Higher and Higher by Jackie Wilson, just because its got that gospel thing happening

As I mentioned on Page 1, I think theory brings you extra freedom. Whether that degree of freedom is relevant or needed is obviously subject to one's personal circumstances. I personally don't understand how the issue could be discussed meaningfully beyond that point apart from sharing experiences.

is it heavy?

does being the only one in a full suit and wearing a hat count?

[quote name='crez5150' post='277459' date='Sep 4 2008, 11:36 PM']I had a MK jaydee for a few years.... great bass.... very long..... Electronics were not great though.... I generally hate headed basses.... do love Jaydee's and Alembic's though[/quote] I replaced the circuit in mine with a 3 band Bart eq and it made a lot of difference to the headroom and clarity I was getting out of the bass. I asked about headless custom basses once on the Alembic forum, big mistake! Momma don' like dat.

and there I was thinking you were going to do The Constipation Blues.

I'm drooling at the wood grain. The couple of issues I've had with ABG's is that the examples I've tried can't compete with acoustic guitars for volume and they tend to lose a lot of sustain up the dusty end of the neck. How do you think your Brook instrument will measure up on these aspects?

I might as well bring the GB head too, it fits in the gig bag.

he's an awesome bassist, his lines are very lyrical. Thats a bargain price for the bloke who took over from Jaco in weather report.

have you tried hitting the 12th fret harmonic?

Trevor Horn? Youth? Don Was? (all bassists)

[quote name='CHRISDABASS' post='276434' date='Sep 3 2008, 05:57 PM']dont worry about theory too much or what other people say/think![/quote] Including you? *hides*

[quote name='valentine' post='276396' date='Sep 3 2008, 05:10 PM']all the notes and stuff on a bass,i just cant be arsed with learning all the theory i just like to pick the thing up and play it ,like what i mean by learning the notes ie all you ES,F,GS,A,BS,C,DS, do i really need to learn off by heart where they are on my fret bord,i have basic theory knowledge of the bass is this enough or do i need to learn all the theory also? i will if i have to but i still prefer just playing it to learning where all the notes are BORING! been playing 5 months now and i play about 2 hours a day so im getting decent at this thing now =)[/quote] I think the best thing about all that theory stuff is that it helps liberate your playing a bit. I'm hardly an expert compared to some on this forum, I only did RSM Grade 5 theory but knowing how chords are constructed and being able to construct them on the fingerboard is invaluable for coming up with bass lines that rely on more than just root, thirds, fourths or fifths. If you need an example of that in practice, James Jamerson's basslines on the Motown records are probably one of the best examples there are in pop music. He let this theory take all the hard work out of playing which was probably a good thing anyway given he plucked all his basslines with 1 finger ('The Hook'). But he did have a jazz background as well. Have a look at passages where he doesn't play the root note in a chord sequence and you'll probably find that it provides a short cut for getting between two other chords that would have other wise been a bit of a stretch. EDIT: