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chriswareham

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  1. Thanks guys, I think the key to this tone is boosting the treble through a solid state amp. I'll try a Trace Elliot combo with plenty of that clever compression they built in. As for being a "studio" sound, I've heard this sound on live recordings that Moev did - but then again the band were part of the Vancouver electronic music scene that included some really talented producers who also worked on recordings by Skinny Puppy, Frontline Assembly, Severed Heads, etc.
  2. Hi folks! Long time since I posted here, but I can't think of a better place to ask about getting a particular tone. I'm about to go into the studio and have this sound in mind for one of the songs we're recording, it's clearest at the 2:45 mark where the bassist does a couple of little runs during the breakdown. It's the sort of sound I associate with Trace Elliot or SWR amps, but with a kind of edge to it that I can't find. Could be the synth doubling up on the main part of the song, but not on the breakdown I don't think.
  3. I've got a bunch of ply bodied Fender clones (as well as a ply bodied Rick clone). One is a 1970's Japanese Maya jazz bass, which was a rather battered sunburst finish when I got it. It was filled and refinished in flat black by Ian Allerton (The Guitar Works in Hertfordshire) and it came up a treat. The downsides of cheap ply bodies is that they tend to be quite heavy and the screw holes will need dowelling if you remove the hardware or scratch plate too often.
  4. Hi Bluejay, I'm not convinced that sharing a post from a private Facebook group breaks their terms and conditions. I can share a post from private groups to my "wall" and have the visibility set so that anyone can see it - even by people who aren't logged into Facebook. This doesn't suprise me, as Facebook's frequent updates to their privacy policies seem to be aimed at reducing privacy in line with the site's fundamental goal of making our social interactions public.
  5. Literally round the corner from me (and I'm using "literally" as it's meant to be used - I can walk there in under five minutes). I don't need another Westone Thunder though, but if anyone wants me to check it out for them then I'm happy to.
  6. If they're anything like the machine heads on my Greco and Avon EB3 copies, then a company called "Ping" do some that look very similar: https://reverb.com/au/item/2577677-ping-p2680-small-covered-bass-2-per-side-tuning-machines
  7. I use a pair of 18" Big Ben speakers, and before that a pair of Goliath 4x10" speakers. The Big Bens used to belong to the bassist from Simple Minds, and still have his name stencilled on the flight case (albeit now covered with ngaffer tape). They have a lower mid punch that cuts through perfectly between drums and guitar, and I drive them with a pair of Simms Watts valve amps.
  8. Just bought a Hiwatt Bass 100 amplifier from Liam. The amp was exactly as described and has clearly been very well looked after :-)
  9. Type O Negative keyboard player and producer Josh Silver became a paramedic. Stuart Morrow, formerly of New Model Army and mentioned in an earlier post, is still playing. I was in touch with him last year via Facebook.
  10. I'm glad that I seem to be in good company when it comes to being bemused by reviews that only consist of slap playing. When I was looking for a pedal to do a particular distorted sound it was impossible to use YouTube reviews - not just from people recording reviews at home but even the manufactures themselves seemed to be think the only way to play a bass is to slap it. Thankfully Darkglass eventually posted a review of the B3K that started with a brief intro played with a pick. I knew it was the sound I'd been looking for, although the rest of the review descended into sub-RHCP slapping that just sounded awful through a distortion pedal ...
  11. [quote name='MoonBassAlpha' timestamp='1485341175' post='3223203'] Can you be sure the 065 on the G wasn't a typo? [/quote] Pretty sure it isn't, as he's also mentioned these gauges in interviews. He also does something similar on his Shergold six string basses. For the Shergold he gets sets specially made by Newtone Strings, who I've just placed an order with for an unusual set of gauges to go on my short scale five stringer. It's an Ibanez AGBV205A that's currently strung EADGB with 030 on the highest string, but I'm switching to 100, 080, 060, 050, 045.
  12. I've been reading Peter Hook's latest book, Substance, which chronicles his life since the end of Joy Division and start of New Order. There are some "nerd" sections describing with various accuracy his recollections of equipment and recording techniques, including a discussion of his preferred string gauges. He uses 105, 085, 065, 065 on his four string basses - including the Yamaha BB1200 and BB1200S that he recorded New Order's albums with. (Apparently the Eccleshall semi-acoustics he's played live for over twenty years aren't used in the studio). I decided to try out Hooky's choice of gauges on my BB1200. I found the 065 on the G string to be so over tensioned that it was painful to play, so I switched to a 060. I'm finding the result be a a bit of a revelation. The increased tension on the D and G makes it much easier to play across strings without accidentally bending them or popping the G string off the side of the fretboard as I occasionally used to do. There's also a greater consistency of tone and notes on the high tension G really ring out clearly when playing double stops or with the D as a drone.
  13. These were amongst, if not the first, CNC made guitars. This meant they were made to very high and consistent tolerances. Quite a clever move on the part of Peavey, as it kept costs down on a US made instrument at a time the Japanese makers were hammering the big names like Fender, Gibson and Rickenbacker on price and quality. I played a very beaten up one for a couple of years, not realising how exceptional it was until I'd sold it (my second bass so I didn't know better). I don't really remember it being heavy - the early model Westone Thunder 1A I used subsequently felt much heavier.
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