EliasMooseblaster

I'm pretty happy with my current setup, all things considered. I have an Ashdown CTM-100 running into the speaker cab of an old Laney HCM120B combo (which is a 1x15). I seem to have a fair bit of headroom if I need to compete with my guitarist, and I like the tone. I just wonder whether a different cab configuration might help to get a bit more out of the amp. As a guide, the desired tone is very John Entwistle-inspired - think Leeds/IoW when I'm using a P-bass, and more Quadrophenia when I'm using the T-bird or the SG. Basically good, strong mids as opposed to deep, fat, dub reggae-type sounds. So what do you reckon? My experience of 115s has generally been good, my experience of 410s much more mixed, but I know this will be down to voicing rather than driver size. Part of me thinks I should get a couple of 12s and have nice modular setup that's easier to schlep to and from the van, but as you can tell, I really don't know!

I don't know if it's partly down to the pitch of my own voice (some days I struggle to get middle C without going into head voice), but I've always preferred male vocalists with deeper voices. Early on it was Jim Morrison, since then I've discovered the delights of Tom Waits, Nick Cave and, even if they weren't the most technical of singers, you can't argue with the tones of Howlin' Wolf and John Lee Hooker. I also like quite a range of female singers, but one who particularly stands out is Geike Arnaert, who was Hooverphonic's lead vocalist for about ten years and then released a superb solo album. Look up Hooverphonic's [i]Eden[/i] or [i]You Love Me To Death [/i]and tell me that voice doesn't tug at your soul even just a bit!

[quote name='Bigwan' timestamp='1458747100' post='3010476'] Interested to know your thoughts with regard to the CTM100 vs OTB500, which I've owned before... or vs LB30 (currently have a CTM30) for that matter! [/quote] Lucky enough to own both an LB30 and a CTM100. I was using the LB30 for rehearsals and small gigs initially, and it kept up with our guitarist's Fender Blues Junior quite comfortably. Then he upgraded to a Blackstar Artisan 15 and I needed more clout, so the CTM100 was a perfect upgrade. I would say that tonally they're not too far apart, though it's a bit hard to compare, as those passive EQs can give you a surprisingly broad range of sounds. But if you're looking for something that can give you a similar tone to an LB30, but at full-band volume levels, then you have made a very sound choice. Hope you enjoy it!

Was lucky enough to catch Ian Siegal at the Borderline last Friday. First time in quite a while that I've seen him with a full band, and he certainly didn't disappoint. Bloody difficult to move anywhere in the Borderline when it's packed out, mind...I'd swear they must be selling more tickets than they've technically got capacity for.

[quote name='MoonBassAlpha' timestamp='1458078247' post='3004587'] Another +1 for the Bronco. I had one in the house for a week and couldn't put it down! £72 off eBay well worth it for an absolute delight. Unfortunately I bought it for someone else :/( [/quote] +...are we up to 4 now? My very first bass was a Bronco. Really nice little bass. I eventually realised it was a bit small, and snubbed it in favour of long-scale basses, but I couldn't have asked for a better starting point. [quote name='3below' timestamp='1458074626' post='3004520'] Chinese corvette rockbass, Peavey Milestone III jazz type. S/H knock down bargains. [/quote] My first fretless was a Corvette Rockbass. Traded it in a for a fretless Jazz last year, but again, a very good starting point given I wasn't sure whether I'd get on with fretless basses in the long run. Nice neck on that thing.

Not going back to that jam night in St Tropez, then?

[quote name='KevB' timestamp='1457887285' post='3002666'] When the Deep Purple Mk2 lineup reformed in the 80's and made 'Perfect Strangers', many fans see it as one of their strongest albums. [/quote] It was certainly a bit of a return to form after a few of the howlers in between!

Bit of a guilty pleasure (not to mention the incredibly '80s video) but does anyone know what happened to Tasmin Archer after [i]Sleeping Satellite?[/i] https://youtu.be/lOqVQPq8zm8

Large bodies and simple, passive pickups. I would say "not of a hideous shape" but several of my friends think my T-bird is utterly vulgar. But then I would say they're wrong.

[quote name='CamdenRob' timestamp='1457618297' post='3000187'] You can purchase the updated version for a mere $35,000... [/quote] Am I the only one here who thinks it looks like the colour scheme was based on a thickly iced Victoria sponge?

[quote name='discreet' timestamp='1457616078' post='3000147'] Wings..? I believe he played a R*ck*nb*ck*r... [/quote] "They're the band the Beatles could have been!"

Does Big Big Train's [i]English Electric: Full Power[/i] count? I know it was originally released in two instalments, but by the time I discovered them it had been re-released as a complete work. I haven't dared consider how many sides of 12" vinyl it would take up, but it is certainly a very impressive album!

[quote name='Bigwan' timestamp='1457612199' post='3000081'] They're identical under the hood. I prefer the look and form factor of the LB30 I had (it's slightly narrower), but the CTM30 I have now came up at a killer price so I jumped on it. [/quote] Do they have the same controls then? I know the main difference on the front panels of my LB30 and CTM100 is that the former has no input gain control. I seem to remember the CTM15 I owned for all of 24 hours had one, so I wonder whether they've put one on the CTM30.

[quote name='Merton' timestamp='1457558686' post='2999722'] Ashdown Little Bastard or CTM30 (they're the same amp but the LB is the cool teenager and the CTM wears the grown up clothes) is what I'd look at, superb little beasts. [/quote] Yep, another vote here. I believe the CTM30 has now replaced the LB30 in their production line - which is a bit of a shame as the LB30 is definitely the best-looking amp I've ever owned! But if the CTM30 sounds even half as good, you'll be laughing. (LB30 review if anyone's interested: https://thecrowfrombelow.wordpress.com/2015/08/03/gear-review-6-ashdown-little-bastard-30/ )

BUMP. It's this Saturday! Any Oxfordians who fancy a good dose of dark, atmospheric music, do hasten yourselves toward the Jericho. We still have a few t[color=#282828][font=helvetica, arial, sans-serif]ickets available from [/font][/color][url="http://www.wegottickets.com/event/334382"]http://www.wegottick...om/event/334382[/url]

[quote name='Twincam' timestamp='1457525481' post='2999317'] Ive enjoyed reading this thread. Its actually made me want to try a few of these basses. Ive never played a Rickenbacker, now I really want to see what there all about. [/quote] Likewise, it's reignited my own curiosity. I quite like the look, in a perverse way, but I hear such mixed reviews on the tone and feel. Seems I must try one for myself, if only in the name of SCIENCE!

Another vote for The Who - not only Quadrophenia but also Tommy (which I've always preferred). I'm undecided about Scott Walker's [i]The Drift. [/i]It's brilliantly dark, macabre stuff, but does it needs to fill two LPs? Every time I put it on, I come away thinking the length is justified, so I'll probably put it on the 'yes' list after much umming and ah-ing. I'm afraid I'll have to chalk a vote against [i]Physical Graffiti,[/i] but I think that's more to do with Zeppelin generally than its length. For a long time I've found most of the albums after LZ IV quite uninspiring overall. (Though I have begun to doubt whether I actually enjoy Led Zeppelin full stop...)

[quote name='colgraff' timestamp='1457098060' post='2995320'] But then what would we squabble about? Oh, wait......yeah. Lots of things! [/quote] BUT WHICH IEM IS BEST FOR METAL??????

Another vote for the Fender Jazz, but going slightly more specific: I've never got on with fretted Jazzes. My fretless Jazz, I'm really quite pleased with (though I'll probably trade it in for a Tony Franklin when the finances allow!), but I've tried a few fretted Jazz basses - even borrowed an original '60s one for a gig in Germany - and I just can't see myself ever wanting to buy one. I think the problem is that I usually solo the neck pickup and expect it to sound like a Precision, but it never has quite the right "bark" to it. So it's probably my own fault for expecting it to sound like a Precision!

[quote name='dannybuoy' timestamp='1456910240' post='2993360'] I wouldn't say 99% of startup bands never see their first gig. Perhaps the bar is much lower over here but I'd say the vast majority of (especially cover) bands that form get to see at least one gig as long as they can all play! [/quote] ^ this. I'd guess that 99% is a bit of an exaggeration, though it depends on how one defines the threshold of being an actual start-up against "this was an idea we had in the pub the other night and are following through in a half-arsed fashion." Anyway, for my own ha'porth: Band 1 will probably be the ideal setting when I'm older. Band 2 sound like they've got their act together. It's unfortunate that I don't like their genre. Band 3 I'd like to think I would give the time of day to. I certainly wouldn't write them off without having a chin-wag with them first to see what exactly they were planning to do with said start-up. Band 4...well, I can't see the genre appealing. But if I did, I wouldn't rule them out either; youthful energy and enthusiasm can go along way with the right guidance. (Not that I'm suggesting I'm the right person to provide said guidance!)

[quote name='ambient' timestamp='1456495500' post='2989637'] That's just plain stupid. Why ? Good for you wearing earplugs though. Loud music, and playing loud is one of my pet hates. [/quote] There's a band that occasionally rehearses in the studio next door to us, who play so loud we can hear them quite clearly through the soundproofed wall. It's not a problem when we're also playing, but there have been some evenings when they've been loud enough to disrupt our conversations between songs.

Is Seasick Steve downsizing his collection?

Hmm... Kit-build Precision: my father and I built it together, and it's travelled around with me since I was 16. Unimaginable sentimental value. Epiphone EB-3: budget attempt to get closer to John Entwistle's Quadrophenia-era sound (it was more convincing than the Epi T-birds in the same price range), and became a staple bass in defining Cherry White's sound. Frankenbass built from eBay parts: an experiment. Good fun to make, and I'm actually quite pleased with the results. But I doubt any bugger would buy it from me. Schecter Model T: halfway-house between a MIM and MIA Fender. It was entirely justified in the period when I was still building the Frankenbass and refurbishing the kit-built Precision. Less justified now but it sounds awesome and plays like a dream. Hagstrom HB-8: first 8-string bass I'd ever seen in the flesh. It would have been rude not to buy it. Gibson Thunderbird: BECAUSE IT'S BEAUTIFUL. Though I do wonder if it's made the EB-3 kind of redundant. Maybe I should view the EB-3 as an important backup in case either (i) something unthinkable happens to the Gibson, or (ii) we don't have space to get the Gibson's enormous coffin case in the back of the van. Fender MIM Fretless Jazz: it's a fretless. And I did part-ex my previous fretless (Warwick RB) to buy it, so it's not like I'm clinging on to [i]all [/i]of them... (Or, in full, https://thecrowfrombelow.wordpress.com/2013/10/17/why-do-you-need-this-many-guitars/ ...well, I've since added a Fender Jazz fretless to the lineup, so it's already slightly out of date!)

[quote name='jazzyvee' timestamp='1456319809' post='2987767'] Well if anyone has any links to someone playing clean fretless bass playing with no effects at all I'd be interested in hearing what it sounds like. [/quote] Here we go: no chorus, no other effects, and minimal sliding around the place http://cherrywhite.bandcamp.com/track/angel [/shameless self-plug]

Afraid I can't get onto YT at work to provide examples, but "Come On in this House" by Byther Smith is probably a good starting point. Don't know if it would really count as blues, but if you've got a dynamic enough frontperson then Nick Cave's reimagining of "Tupelo" could make a bit of a showstopper.