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DiMarco

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About DiMarco

  • Birthday June 18

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  • Location
    the Netherlands

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  1. Using the Le Bass a lot, also have the Trace Elliot Transit-B since that has a five band EQ and great compressor. This one is arriving next week: The cabinet emulation is analog, and the parallel fx loop has a low pass filter on it so you can for instance throw a compressor on your bottom end and a distortion or chorus on the preamp fxloop. When you dial some lows out of the latter you will get that bi-amp rig sound. The EQ is based on Ampeg amps.
  2. I threw a John East pre and a pair of Lollar pickups on my Japanese Marcus Miller Signature a couple of years ago. It is now the best sounding MIJ MM signature on the planet, and I sold it only to get myself the five string USA version after some time. So my opinion is mod it all you want, it is your bass.
  3. Just permanently deleted my Facebook account. It had become pretty much an ads only platform and was of little value to me anymore. So far this feels like a relief.

    1. BruceBass3901

      BruceBass3901

      I've been contemplating this to get away from a load of stuff/people. I can't really be bothered to trawl through and sort the wheat from the chaff

    2. WarPig

      WarPig

      I did it when this corona stuff kicked off and have not missed it. Same with twitter. Too many ads and fake news

  4. I wouldn't expect too much of that. The gain knob seems to have three modes. At low gain it is nice and clean, but not clinical sounding like many other small class D amps. When dialing in more, the led will turn yellow and you can clearly notice it limiting because it is applying quite a lot of it pretty quick. It is only on lots and lots of gain where it gives you its breakup, but again lots of it. There is no slight breakup. If you want a rock tone with slight to heavy breakup, I suggest you check out the Two Notes Le Bass preamp. It has a 12AX7 tube handling the breakup and you can choose "cold fusion" or "hot fusion" modes where it either blends the clean and driven channels side by side or puts them in series. It does by far the best job of giving you tube grind because it actually is tube grind.
  5. Speakon connectors are too large for the Elf I reckon. It has a Jack output. Nothing wrong with that by the way. Here's a pic of mine.
  6. Sleek indeed. Jazz Bass is the answer to everything really. This is a nice shade of Jazz.
  7. Fralins are lovely. When you get the chance, also try the Lollar.
  8. Yes the headstock. I know. And I love it!
  9. Interesting thought. Hadn't given that much thought myself. Could well be a mixture of focus and composure keeping the joy purely happen on the inside and not shining though much on the outside. I myself can not hold still or stop smiling when a jam just works and is exciting. Of course this is different for every person. Shoe gazing while playing is an art performed by many, and it does not say much about how much fun they are having, just how much of it they are allowing to show. Thanks for your insight!
  10. Is it just me or... Do a lot of teachers (not all of them!) forget to make music when they're playing? I do not mean to offend anyone. Me I am fairly limited and just trying to enjoy playing as much as I can. Sometimes on rare occasions a jam will really take off and the music starts playing you rather then the other way round. The feeling this gives you can not be described. I wonder if this still happens to those of us who have been studying and teaching music over great lengths of time. Where I live, there's a bunch of really skilled people teaching playing, singing techniques and theory to others, who are often just starting out or trying to improve their playing. These teachers also show up on the local jam sessions sometimes and it is fun for me to watch and listen to humans with such a huge musical vocabulary. They come up with very interesting stuff. But I am afraid this stuff is only interesting to other players. The teachers at times seem to have forgotten why way back in time they started to want to play music, and they now are completely caught up in the technical side of playing correctly rather then enjoying the one thing music does: Be an emotional tour of wonders while making it. I say this because I seldomly (if ever) see them losing themselves inside music and playing in any emotionally inspired way. Is getting caught up in techniques and theory a possible pitfall the more skilled you get? Or are these people simply on a different plane and needing musically much more interesting input before their spark gets lit. I do not know. So I wonder what is it like to have much more horsepower then most musicians at a session? Does it make you 'play safe'? Are you still able te get loose and lose yourself in music? Can any of those here who consider themselves a teacher elaborate on this? We always seem to discuss the technical side of music but this question has been in my mind for quite some time now.
  11. All through the day.. I me mine I me mine I me mine.
  12. A bass does not sound aggressive by itself but by how you play it. Thumb is aggressive fingerstyle but its slap tone is overly trebly and clean, it needs a bit of OD love to work. Stingray has aggressive slap tone but oh so recognizable fizzy fingerstyle poop that doesn't sound proper in any setting. Get a Wal.
  13. Aaaand its off to the Netherlands. YAY! #stoked
  14. The v63 bridge will do fine. Close enough and good enough. Thanks for pointing out the differences!
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