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lownote12

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  1. How about that, my Portamento looks just like your Portamento. Flawless booty, except I'd have sacrificed a couple of totally unnecessary high frets to achieve some aesthetic gap between the fingerboard and the neck pup.
  2. Sire fivers are good, but they're neither the lightest nor smallest basses around.
  3. Six months into (premature) retirement and two weeks into lockdown 2 I found myself running out of things to do and also drifting towards depression. I had given myself five things to do - bass practice, sax prax, getting better at watercolour portraits, riding bicycles and writing my maiden novel. The trouble is I am irredeemably shite at the first three things, it's winter, and the novel will never happen - and it's miserable being made aware of this (again). Realising depression is not a good place to go, I took stock and realised that one way of putting off re-realisation of the shite threshold is to pretend I'm starting from scratch. So today I dusted off the Ed Friedland walking bass course, Scott Devine's technique accelerator course and started Scott Paddock's excellent sax course right from the start. So far so good. I am posting this primarily as a motivational pressure on myself to avoid back sliding. YMMV.
  4. IMHO, the MB 15 can be muddy, the MB 12 is a great compromise. Dunno about the MB 10s, although heard others sound good on them. As to their heads, they're a bit Marmite. I didn't especially like my LM2 until I chanced upon an eccentric EQ setting which worked for me and my needs perfectly.
  5. I am running an Ashdown MAG300 head through a Phil Jones 4x7 + 2x7. The total of 6x7 works well vertically, even in my current rock band. It even handles the low B on my 5 string. The band like the sound and I like the sound. But I believe Phil Jones cabs are quite high spec/quality. As an observation each cab on its own sounds a little weedy, IMHO. Like chris_b I can't see the point of downsizing to a cab that weighs 24kg, like the Ashdown. Bear in mind a Barefaced 110 weighs 7kg.
  6. Like I always say bass is child's play
  7. My particular forest became a little easier to roam when Scott Devine gave me Gary Willis as a guide. We stopped in a glade and GW started to explain the sylvan system to me. I wot very little what he said, got bored and wandered off. But then I had an epifanny and took on board the sub currents of what he was trying to tell me. It doesn't matter where you wander in the wood, you're still taking a walk in the woods. Think about making music and not following systems. Systems are what you need when you're designing a petrochemical plant. In the wood, you're on a walk: in music all notes start to work if you focus on making music and not being a note mechanic. In ways that I can't fully explain a good many puzzles became unpuzzled. I get into trouble when I post about fretless being good for this. With fretless you create the note, reach for it, listen to it. confirm it. Fretted basses, like nuts and bolts and pipes, lends themselves to crafting systems. They encourage 'playing by numbers'. It is perhaps no coincidence that Willis plays fretless. All will become clear, glasshopper
  8. SRF705 Portamento. Through an Ashdown 300 and 6 7" Phil Jones speakers.
  9. I don't know the combo but my MB Little Mark 2 head was silent under any low or reasonable load.
  10. Linder is as a god to me. I don't think any of my other heroes have quite such crisp, effortless, fast control of the fingerboard. And what's more he doesn't shred just for the sake of it, just where it's needed. Glad to have met him at the London Bass Show a couple of years ago. Oooh, this is my thousandth post. How exciting.
  11. There are more lined offerings than unlined. Lined are more conventional and easier to convert to. Unlined is more fun, more challenging, more different. And not as difficult as you might think. Revelation do an unlined P bass for under 200 notes new. It’s my main gigging axe. Lovely to play and great in the mix.
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