Wolverinebass

Okay. Confirmed. 1. Rich - Trace Elliot TE-1200 amp, Barefaced Super 12T cab, earplugs , Shuker custom 5, Tanglewood TRB-CE acoustic bass gtr. 2. Woody - Rickenbacker 4004-L5, maybe Sei Flamboyant, Same old basschat 12" with some amp, other stuff TBC 3. Pinball (tbc) - some interesting basses 4. Stubsy - Joyo BadASS, GRBASS AT212 slim - only 50W but that should give 120dB at one metre 😇. (or I bring my TE 1110 combo). Some fun pedals. Perhaps the AVII 1960 precision, the Sire P10 and maybe the Fender Performer and something unexpected... 5. Sean - Mesa 400+, Laney Nexus Tube 400 [oh jeez], MJW Taranis 200 (Filthbox Matamp clone with extra channel and EQ), GK MBF500, GK Fusion 550, 2 x LFSys Monaco, 2 x Japanese Market Spector Euros with LHZ-03 preamps, Valenti #005 Super P, Yamaha BB1300, my small but well-appointed pedal-board (Origin Cali 76, Origin DCX, Aguilar Chorusaurus, etc) plus a mini walk-in bass surgery if interested. Plus whatever I might be selling at the time. 6. Rosie - likely I'll bring my upright, set up for bluegrass/folk/jazz if anyone's not played upright before and fancies a go 7. Phil - BassChat cabs, maybe some sort of shootout? 8. MikeD - Laney Digbeth, Zilla 212, Dingwall Combusion, Revelation PJ, pedals, try to finish home made bass🤞🤞🤞🤞 9. neepheid - G&L CLF L-1000, Yamaha BB1200, Sire D5, Sire Z7, Greco LGB-700, Reverend Triad, Epiphone Les Paul (not so) Standard, Epiphone Thunderbird '64, Squier Jaguar H (with Ibanez CAP double humbucker from ATK200/800 etc), Gear4Music rat bass (with Lace Aluma-P), £150 giggable bass challenge, 1 or 2 amps depending upon space... Edited Monday at 15:17 by Rich 10. Jabba_the_gut - Note sure what stuff yet........ 11. Wolverinebass - Grainger Hades, HX Stomp, GK Fusion 1200s.

In that case, I'll bring that. It's a curious bass as I had it made so you can use it either stereo or mono. Much like a Rickenbacker or Series Alembic. It's not as hard to play as some people might think if you put your arm on the wing a la John Entwistle as I am in the photo. I kind of didn't want to bring an instrument that you couldn't buy anymore (like the Status buzzard or Warmoth 8 string Explorer) and as Grainger will make that for you if you wish, it seems like the best way to go.

Standing on the Shoulder of Giants is a mishmash of Noel and Paul Stacey playing bass. Noel plays Go Let It Out.

I thought Go Let It Out wasn't very good to be honest and I saw them on that tour at Murrayfield in 2000. They played pretty much the same set that they played at Cardiff the other day. An old one. They lost relevance post 1996 with awful material and terribly produced albums. It's not like I don't like them as a band per se, but they've released much more crap material than great.

Well, most of my collection is a bit mental so I'll list the more weird ones. I'll list them in "declining pointy order" if you want. Pictures to hand of the first 2 if you want a laugh. Status John Entwistle Buzzard Grainger Hades 8 string Explorer 12 string Hamer Alembic Stanley Clarke Alembic Series 1 Wal Mk 2

See, I'm sick of that crap and there's nothing "modern" about it. It's almost as if virtuoso or groundbreaking bass players have never existed. We've retreated (or been relegated) to a role that the bass should have escaped by the 60s. Oasis isn't a bass player band anyway, but Andy Bell is probably the best guitarist in that band and he's not even playing guitar. Can't have Noel feel inferior can we?

Thanks. I'll try not to be. Can't promise anything of course as I am a belligerent Scot. If you still have it by that time, I'd be very interested in playing your Epiphone Les Paul actually as I think it looks fantastic. It'd certainly be good to meet you and the rest of the peeps properly. Naturally, getting the train, I'd be travelling light, so one bass, possibly a small amp and maybe a few pedals. I don't know what folk would be interested in trying that I own as since quite a lot of it is "pointy," or dare I say it, "mental," it does sometimes put people off.

Nice work and very creative. However, you will have to try harder to get an endorsement deal from EBS I fear.

Due to the lack of a SE Bash for the last few years I wondered, would it be okay to attend this out of region? Anyone going from London? Not that I can book train tickets for another few weeks yet.

You're certainly not going to show the kids "this is what you can sound like if you're any good," that's for sure.

Thanks @stevie. This was exactly what I was getting at. This is my goal as well. Have a cab which basically sounds exactly like the DI. I have tried various cabs and the closest I've ever got to this is my Vanderkley 2x12. Even that isn't quite the same to the exact details. As you say, the graph is of course subject to the mic position and all the other factors such as room reflections. I'm not sure if the idea of having the DI feed being the same as the mic'd cab is practically attainable or even possible, but it's in an ideal world what I want. My question was a roundabout way of asking if one doesn't know how to mic the cab properly, how can anyone say what goes out is what has went in?

I played the Monaco at the last SE Bash which was now some time ago. It was really good as I used the TE1200 and @Merton ACG. I hope this doesn't constitute a thread derail, but I'm curious about a few things. Are there any bigger cabs in the works? Like a 2x12? Also, as the crossover point seems to be very low and in the 1.5kHz region, how does one mic the cab to record it? All the snap and attack will be from the horn. Just curious really.

Oh yeah. I've had that. In fact, if anyone in a band I'm in uses the word "woke" as a pejorative term, it's a pretty good marker of there being some other shady stuff going on under the hood and you've just seen the tip of the iceberg. This view has been proved right every single time as there will be follow ups in varying degrees of misogyny, racism and the like which I'm never going to dig on.

You're more than welcome to pop over and have a play squire.

True, of course. Ian Klos asked me on a phone call about the headstock. I was diplomatic in that I said that it might put some people off. I suggested maybe a 2+2 arrangement in the more Status or Ibanez type shape. Or something along those lines.

Ian said it to me more about the balance of the headstock actually. However, it's a valid point that people like Fenders. For all my time playing I've never owned a bass that was 3+1 until this. It is curious. I believe the 21 and 22 fret necks require the right heel and there's no overhang like say if you buy a Warmoth 21 or 24 fret neck with the fretboard overhang. It's worth saying that their own instruments now have the revised headstock instead of the square one which was a bit awful.

They didn't because Ian Klos hates the Fender headstock. He did ask me about headstock shape and I suggested something like a status or ibanez. Which is kind of the way they went instead of the square thing on their full instruments which is a bit grim. I was one of the first people to order a neck. I put it on a Warmoth G4 body. It's great. Here's me messing around with it. https://www.instagram.com/reel/DI4jCnQCDyb/?igsh=ZzgwNW5reDlzNXl5

It depends what the mistake is really. Some people are morons for editing stuff like that which actually sounds cool. I always say to people I produce, "You can have perfection or personality. You can't have both, so choose." Virtually always, bands or artists will choose the latter. Those who drone on about "getting stuff perfect" are generally nightmares to work with and also have no filter as to decide when "that'll do" is the right thing to do. Then they wonder why it sounds slightly lifeless. Which is why I made a rule to not work on those types of records and weed out those folk.

Which is why I said to order a few!

There is that. I've recorded people in the studio and slowed the song down by 5bpm so they can do it. I did get clocked for it by one of the other band members once who politely asked "what the hell are you doing Andy?" I politely told him to "shut up" whispering very quietly saying I'd explain afterwards. It was the other guitarists band and he was really, really good. He just couldn't quite play his own solo at the tempo they'd chosen. He would have taken years to get it right in bits as it was at least 45 seconds long and intensely complicated. Sometimes preserving someone's ego in the moment is worth it. Miming live is fraud to me. There's something that's been lost by all this and that's spontaneity. None of these clowns can play on the hoof. Like listen to a live album and you hear things being slightly messed up. That's gone now. In one of my own bands, the guitarist becomes intensely irritated by the fact that I freestyle loads of bits of songs. The point was I improvised when I recorded them, so I play them differently every time I play them. Which I feel is being true to myself and what I did on record. People like this Giacomo glock can't do that as everything has to be perfect and they don't have the facility to adjust themselves to anything else. Hence the miming and ludicrous striving for "perfection." Oh, and he ripped folk off too. Classy.

There's nothing funny about it. It's a fact. The secret of a great bass tone is that on it's own it should be almost unlistenable. Check out any band in the rock fraternity who the bass player is renowned for their tone. It'll be much, much harsher than you think when you inevitably find it on YouTube isolated. When I've recorded bass players in the studio you'd be surprised how many don't know this and even when they want a "clean" tone are surprised when I make it sound like an overdrive tube amp. Even a dirty tone if you want to hear thr top end is way more crazy than most people think. This is why I despise Glyn Johns as he took Entwistle's tone from him for arguably the best material The Who ever did.

The problem is that Glyn Johns made him roll all the treble and most of distortion off his signal. Then he took a high pass to it and cut all the remaining bits above about 3kHz. So it makes it more difficult to tell. To me, most of the stuff on Who’s Next the bass sound is garbage because of that. There's no sustain to it or harmonics and it's virtually dead. Though to be fair, the Who By Numbers bass sound is a travesty even further. Glyn Johns gets so much praise for things, yet he managed to undermix and ruin the sound of arguably one of the greatest rhythm sections in rock ever by making them stylistically go against what they naturally did. Let's make John play with less treble! Let's take away half of Keith's drum kit! Tosser.

He'd started using the Non-Reverse Thunderbirds at the Young Vic when they were workshopping the Lifehouse shows. That was before Who's Next was recorded. He still recorded Who's Next with Frankenstein.

My dear boy, you should have taken orders! I would have had one!

They're very good pickups. There are some things to be aware of. You have to get the route lowered as they're deeper than normal MM pickups. Secondly, and I've no idea if Martin has addressed this as I bought the pickups 2 years ago. I had to wait a long time for the neck as I was one of the first to order one. The channels where you would put the screws instead of being straight up and down were flaring out from the body of the pickup. So I had to have them filed so they'd be able to be properly adjusted. Were you to order from him, I'd ask if he's sorted that issue out. He seemed to be aware of it when I asked, so I'm assuming it's been rectified by now and he's very good to deal with. Sonically, they're excellent and work very well with the Lusithand filters. Plus, having bought a fair amount of stuff from Nuno, I can tell you not only does he really know his stuff, he's also a very good guy as well. In the video I'm playing through a sansamp psa 1.1 into a Vanderkley 2x12. Both pickups are equal and the filters are not even the full way open, nor are they pulled.