Wolverinebass

It's not the Who anymore. I had the privelige of seeing them in Glasgow in November 2000 and that's the best gig I will ever see unless someone re-invents the musical wheel in my lifetime. When I watched them on TV playing Glastonbury a few years ago, I was almost sick. Nothing has changed since, but for opinions here are my own. Zak Starkey is about as close as anyone will ever get to replacing or emulating Keith Moon. But Pino? Err, no. I have nothing against him as clearly he's a talented player, but for the Who it's in the "Kenney Jones was the wrong drummer" syndrome transposed to bass. The tone is all wrong (bland in the extreme) and he just plays sooooo simply (otherwise you wouldn't need a 2nd guitar player to fill all those gaps would you?) and frankly I think they should have quit on the spot 27th June 2002. I'm sure that there are people on this forum who could stylistically give something more to the Who than Pino ever will. To me it's a safe, boring and utterly wrong choice probably instigated by Roger who can now tell Pino to "turn down" as the bass player is now the hired help as opposed to an equal.

I'd look on Facebook. I tracked down someone for a a mate who had something very similar happen to them (i.e. scumbag who had nicked loads of gear from them). Unless he's got an insanely common name you'll probably find him then it's rather easy. Hope you get it back.

I find it ironic that Adam Clayton was actually the reason I learned bass in the first place. However, the more I progressed I found it a bit boring after I got into the Who and other bands with more technically involved playing and certainly everything U2 have done post Pop is the most dull uninspiring tosh to play ever as it's not challenging or to my money interesting in any way to play. Maybe I'm being harsh though. It could just be U2 went a bit rubbish after 97. At least in my eyes. For me though, the crime is not the fact that someone who plays relatively simply should play an insane looking bass that is in fact merely a precision with an upside down explorer shape, the crime is that of Warwicks for thinking that any number of pseudo John Entwistle rip-offs are acceptable. What's with the buzzard headstock on everything? Just. Stop. It. I think that for what Clayton does in U2 he's great at it, it's just not my cup of tea. On the other hand, think how bad it might have been if Warwick had got Guy Berryman from Coldplay to endorse a really flashy bass. Now that would just be totally wrong on every level imaginable. To paraphrase someone else's comment, that's not even 8th note plodding, that's quarter note plodding....

The Bass Cellar seemingly never have what I've went in for. But that's not to say they don't get it for me. The Bass Centre is a completely different kettle of fish. Whilst I got my Alembic from them whilst they were at Wapping and were very nice then, the moment they moved to Liverpool St. it all went wrong really. Pricematching? What's that? Take it or leave it at the price we offer. However, the best one was when I left my buzzard with them for a couple of days. All I asked them to do was lower the action. I specifically said "DON'T DO ANYTHING ELSE." So, what did they do? They attempted to change the batteries. As some 9V batteries have the small plastic caps on the ends, whatever moron tried to do this had jammed the batteries into the slots with them still attached. This screwed the electronics. I take it to rehearsal the same night. Nothing. That was very annoying. So I had to take it to Rob Green at Status to fix it as I didn't know what they'd done. I'm glad they don't have a shop anymore.

[quote name='molan' post='707571' date='Jan 10 2010, 12:36 PM']I found this which looks very similar but the image locator caption says it's 2 pup Stryker: It doesn't look a lot different to this: Warwick Adam Clayton Signature Reverso E-Bass * Signature Bass * Mahogany Body * 3/9" Quilted AAAA Maple top * Flamed Maple with Ekanga Veneer stripes * Tigerstripe Ebony Fretboard * 24 Frets * Scale 864mm Long Scale * Nut width 36,5mm * 1 x MEC P active Pickup * Warwick 2pcs. Bridge * Finish Natural Satin * incl. Rockcase and Adam Clayton Signature[/quote] It's just disgusting. He also seems to have not noticed that the shape of an explorer lends itself to leaning your elbow on the top wing if you will, hence relaxing your wrist. What can you do with that now? At the height he's playing it at he'll probably destroy his kneecaps with the reverse wing every time he takes a step. Plus you know it's going to cost at least £4K. Good luck with that. Given that price bracket I'd get an Alembic or a Zon any day. Plus it's just a P bass with a bonkers shape. I'm sure that some of the great craftsmen that frequent this site would be able to build something to similar spec for £500. For me, Warwick have just milked this John Entwistle association way too far now. First they stop Status making their buzzard (superior in every way to the Warwick version - I've played both versions) and then they did this whole rip off of the Alembic explorers he used to play in the 70's (surprised they didn't try to sue them too). Again, ditto the above situation. Do they not have any original ideas, other than not very good ones? I bet Clayton will barely use it.

Last year I set myself the goal of being able to slap better. After following Stuart Clayton's book I did it, but I wouldn't pretend to be anything other than "okay" at it. This year, I'd like to gig loads. It's not too much to ask you may think. However, this is unlikely to happen. I'm about to move house, my wife is pregnant and there's a reasonable chance that I'm going to lose my job reasonably soon. That's just the first 6 months of the year. Stranger still, my drummer recently moved to Sheffield and it appears finding someone as good as him is going to be rather difficult to say the least. That's even before I get to the problem of getting a good singer. I haven't played a gig in a year and haven't even went to a rehearsal/jam since August. It's times like this that I wonder why I don't just jack it all. Though maybe not. I'd have to sell some seriously great basses. In light of all this, I'll settle for perfecting my typewriter style.

I agree. Get the GK. I've never really found the MAG amps to my taste (wooly) and I'm sure I've read some not so very nice things about the Little Giant build quality. Obviously, that could be hearsay as I've never owned one. The Hartke gets a good write up but I can't help but thinking if it's that good, why are loads of folk flogging them not just on this forum but on ebay? I think it'd probably be quite good, but the thing that puts me off is the fact the controls are so simple. On the other hand, a lot of people find that refreshing. Plus, that's made in China as well, if that is an issue. I'd go GK.

I've always quite liked "brutal."

[quote name='Mr. Foxen' post='697222' date='Dec 31 2009, 02:51 PM']A mini mixer will put the signal back together. I have one that is large pedal sized made by Monacor.[/quote] Ahh, I see. You've got the MMX-31? Seems like a plan as it doesn't need any power. Or are you using the MMX-4? Still, have to find a decent crossover or see if there is any way to combine both devices like Silent Fly suggests. Thanks for the advice!!

Thanks for the info. I figured I might need a crossover, but where my problem lay is how to merge the 2 signals back into one and keeping it all in mono so it'll all go back into the return section of the FX loop. Whilst this is getting into bi-amping territory in some ways, I'll be doing this with full range speakers so it's not worth doing the change in amplifier system to get what I want. I've had a look at some of the stuff suggested and I don't think the Boss is what I want. I have the sound I want and can acheive it in cubase by recording 2 channels, but I want to be able to do so live and sadly, I don't need any more effects!! Ha!! The Behringer crossovers seem something like what I'm looking for but they're XLR ins and outs and I'd prefer 1/4 inch sockets just for ease of use. Small would be good, so that I don't have to cart about 300 million feet of wires with me. What ideally I want is the crossovers which you get in the bass pod. Where you can set the Modulation and Delay crossovers, but keep the signal in mono. Yes, I have one, but I'd be attempting to do the same thing with a different fx device which doesn't have this function. If anyone has any more ideas, I'd be very grateful.

I'm not sure whether this should be in FX or Amps forum, but here goes. Say you have an amp which has a mono FX send/return jack. You want to apply a particular effect (say chorus or distortion) to only the uppermost part of the signal - say above 800Hz - 1kHz and leave the rest unaffected preserving your bass end. Is it possible to do this either by using an EQ module or splitting the mono signal into 2 bits (the uppermost one being affected, the other lower portion being clean) then merging them back into each other to give a mono signal again which has been processed to your specification. Is this is any way possible? If anyone has any ideas or suggestions they would be most welcome.

This is utterly brilliant. If I could actually do more electronics than changing a plug or soldering wires on a scalextric car, this would be the sort of stuff that I'd want to do. Seriously good work there!!

Thump Boy has rather kindly posted the FBV board above. That's really good. I've got the shortboard version which is pretty decent, but the FBV is the better of the 2. The only thing that annoys me about the pod is that it's not seamless transfer between patches. So when you change patches say you're using delay, the tail of the signal gets chopped if you turn it off. Really annoying. On the other hand, that doesn't bother everyone. As Thump Boy says, get a rack case. You don't want to be carrying it about without one.

Is it? GAK doesn't seem to say it's in stock and that page has been there for at least a year. Even Thomann have had it on "2-5 days notice" for ages. Before that it's been "on order" with the date being pushed back in increments for 2 years. If that's true - great!! I can upgrade a bit. However, much more tellingly, when I asked Hartke about specifics of it (like weight, dimensions and what footswitches are compatible etc.) around 3 weeks ago there was no hint that it was out or when that situation would change. If it were out why is there no online manual or even a rear panel photo on the Hartke website? As much as I like their amps and gear in general, I'm not buying an amp without knowing anything about it other than a front panel photo. That photo of the front panel is the only image you'll find of it anywhere. Anyways, when I asked, they replied with this which doesn't suggest it's going to be out before new year or anytime soon come to think of it: From: Anthony DiMaggio Sent: 01 December 2009 17:45:18 To: Cc: 'Joseph Antonelli' Andy, Currently, the Kilo is still in production phases, and is not yet available. Information won't be final until the unit is. For further info, contact your local distributor. Thank You, Anthony DiMaggio SamsonTech Product Specialist

The Pod XT Pro is footswitchable. Get the FBV shortboard which is really good or the FBV board which has more control. I've tried the Live (floorboard) version and whilst the amp models and whatnot are the same in some way it's just a bit flimsy feeling in terms of the footswitches. I'd go with the Pro version and a controller. I wish I'd bought the rackmount version instead of the kidney bean version. On the other hand, I tend not to use it live very much now as I use the Digitech 2120 which again is a rackmount with floorboard controller.

When is the Kilo coming out? It was announced when the LH500 and LH1000 were announced with the whole hydrive line. That was at least 2 years ago. Am using a 5500 at the moment and would like to upgrade a bit. Can anyone shed any light?

[quote name='crez5150' post='677854' date='Dec 8 2009, 01:34 PM']If your sending to FOH why don't you just get them to give you a mix of your bass in the monitors?[/quote] Because whenever you trust a sound engineer not to screw you, they invariably do. Messing with your tone or not turning you up loud enough in the monitors so it's like miming with your own band. Looking down at your fingers moving and what do you hear? Nothing. Regardless of how much you ask nicely for some changes or get frustrated and and turn yourself up, they just turn you down by more. You can't win. That's why I gave up using just a pod XT when I went out live. Despite how convenient it was, I just got tired of sound engineers messing with my tone or not being able to hear myself. Why spend a bit of time getting a tone that would tear the head off a thick necked rhino when the sound guy thinks, "Ooh, I don't like that. Not very conventional. Let's tear all the treble and mid off and turn the bass up." In other words, it sounds like a wet fart and everything above E on the A string is inauduble. Sod that. That actually happened to me and after a few more incidents like that (frequency pans DURING songs being the best example - banjo sound to fretless in 2 minutes!!) I got tooled up with my own small stack. My advice echoes Stylon's - Get a power amp.

I've always liked GK's tone. Rather growly and I have played quite a few GK's. Playing a 2001RB was just brutal with an 8x10. You could level small buildings with it. The only thing that put me off them is the backwards way the knobs are (treble to bass from left to right). It's probably I'm just being pedantic but it really is off putting for some strange, unfathomable reason that I can't figure. Maybe because we read left to right not right to left. Still, they're fantastic amps. The 800RB is a brillaint amp.

That sounds great. I wonder how much is down to the precision or the mesa amp or barefaced cab. Really good sound though and top playing

My favourite Entwistle tone is most definitely circa 1999. Watch "The Vegas Job." Reasonably bassey, but quite a bit of flanging going on in the upper mid and treble register. It may be worth saying that it didn't sound like a bass at that point. On the other hand, use a sound like that at a gig and it's hilarious. The number of people who now aren't sure what instrument you're playing is really amusing. Is that a bass? Looks like it, but doesn't sound like it though....

Yeah, I should have said Valve amps with 4x12's. That will get you pretty close to the Leeds tone.

Yeah, go on!! Name and shame Alex!! In all seriousness though, I'd be very interested to know this stuff. I should probably add myself to the Compact circulation list as I'd be very intrigued to see how the compact sounds in comparison to Markbass cabs I've got.

As a bit of an Entwistle fanatic, I thought I might pitch in as well. Entwistle was using a P bass in 1970 but didn't use tapping techniques until post Who. If you watch the Live at Toronto dvd (circa 1982) he doesn't use tapping at all (possibly because it's Kenney Jones playing drums you can tell it's forced Entwistle to be less flamboyant. On the other hand, there's so much other craziness going on in places it doesn't really matter. I agree that to get his sound from the Leeds era one should look at the rig itself. Cranked valve amps methinks. I tried an old Hiwatt head a few years ago and that was fantastic. If you got your hands on one of them I'm sure it'd be reasonably easy to get the sound. I bet your wallet is already feeling the strain at the thought.... As for the "Live at Leeds" patch on the Bass Pod XT, when I first got the my Pod XT, I thought "FANTASTIC!!" However, it sounds absolutely NOTHING like his sound from that era. I think the best way of describing that patch would be "weedy," or even "lame" but that's just my opinion. I did try it with about 4 basses just to check I wasn't going mad. Still sounded rubbish though. From my experience the hardest sound to get right is his late 70's sound where it was still reasonably clean and he was using the Alembic Explorers. It's just impossible to get that tone even with Alembic I have. On the other hand that's not my favourite tone of his. By contrast, with a Status Buzzard (or something with a graphite neck and an active 3 band EQ), his latter day sound (1996 - 2002) is actually reasonably easy to achieve in all it's incarnations with a very low action, reasonable amount of flanging and bonkers effects depending on what year you want to try and copy his sound. Good luck with your quest for arguably one of the best bass tones ever.

I must confess McCartney leaves me very cold. Undeniably, a brilliant songwriter, but as a bassist? Er, no. Funny that everyone goes for Jaco bashing. Whilst it's not my bag, you can't deny that he changed a great many people's views on bass and I think he's fantastic. Whilst I don't particularly like slap, you can't deny that King is amazingly good at it. I wouldn't diss anyone who is probably the best at what they do. I'd also like to add Pino Palladino to my list of "criminally overated." However, that might have something to do with the fact that he replaced Entwistle in the Who and can't hold a candle to the man either in terms of tone or technique. I'm an Entwistle fan boy. My cards are now on the table. Seeing them play Glastonbury a few years ago on TV almost made me ill. Adam Clayton as well. Though that could have something to do with the fact that U2's albums over the last 10 years have been awful. For those who say that Entwistle didn't deserve "Bassist of the Millenium" tag, that's fair enough and a matter of opinion. Different genres are obviously going to put people off thus making objective comparisons impossible. Were Jaco still alive and recording maybe he would have won, though it's worth noting that he was further down the list than McCartney which is bonkers in my opinon. Who is really better at PLAYING the bass out of those 2? The fact that Entwistle won that poll I would assume would have something to do with the 515 solo from the Who's 1999 - 2000 tour which went on before that poll was taken. Right or wrong, I'd always go for people who can play and solo well.