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Everything posted by Passinwind

  1. Pedants 'R Us: a notch filter won't boost at the center frequency, so it's probably not the right tool here. If you can describe the problerm you're trying to fix maybe we can collectively work through it? With a full PEQ it's a tricky deal, because using much boost with a narrow bandwidth tends to promote ringing (oscillation), something you may see on an oscillosope well before you can hear it, and unfortunately a potential speaker killer. The area around 250Hz is a very important range, it can equate to "mud", room resonance, what some people think of as "punch", and so on. FWIW, the PEQ design in my amps can get as narrow as 1/20th of an octave. I can't recall ever using that setting with bass guitar though. 1/3rd or even 1/6th octave, maybe.
  2. Cool. I attended one of the shows that made it onto that album; I believe the Not Fade/Going Down The Road/Not Fade medley is from the show I saw in New York, my first one actually. This is pre-Wall Of Sound, but I saw that in action a number of times as well.
  3. The bass intro which starts at just after 5:00 in this version often featured the biggest Phil Bombs, especially during the Wall Of Sound era. Always loved playing this myself in various hippie bands I played in over the 70s and 80s.
  4. Don't own any myself, but IMO they're great cabs and Roger and Linda Baer are hard working, top shelf people.
  5. Mostly the same as applying any form of EQ - it depends. One immediate problem is that true PEQ requires at least three or four gain stages, and that means a fair bit of current consumption. So right off, putting it off the bass is mostly a better choice IMO and IME. Gain staging is critically important and in my own designs I prefer to have gain controls both pre and post any EQ blocks that might actually get set with a lot of gain or cut. In most of my DIY amps I have a single band full parametric stage after bass and mids, but before the treble section. That minimizes how many stages boosted treble signal goes through, which helps signal to noise ratio a lot. For bass guitar I tend to use it more like a tilt control than a surgical boost/cut with a narrow bandwidth. For something like upright bass just the opposite though, and putting the PEQ after bass and mids lets me massge unwanted interactions between those controls. PEQ can be a tweaky thing and for most people using it on the fly is apparently just overwhelming. Hence the dumbed down semi- PEQ we see in many implementations. As a long time sound provider I am very used to quick on the fly tweaks, especially for feedback suppression. As a bass player I tend to set it once for room correction and call it done. Horses for courses.
  6. I owned a Tri 112L for a while. For me a decent pairing was with a Euphonic Audio CxL-112 that I already had. A fEARful 12/6 worked pretty well too. But having heard many multi-AG rigs, I'd recommend just going that route if at all possible.
  7. Nothing to think about over here; everything for a while has been cancelled by government mandate. Some venues are just closing permanently right off, but so far it seems to be more restaurants than music venues doing that.
  8. The same one I play 90+ percent of the time anyway. 😎
  9. Around here before virtually all gigs were verboten there were a few venues limiting attendance, such as running at 1/3rd legal capacity in one case. So in that case I'd assume that they'd just dispense with the bands completely if they could already fill that many seats on a given night.
  10. Dark Star - Grateful Dead In Memory Of Elizabeth Reed -- Allman Brothers Band Dazed And Confused - Led Zeppelin
  11. Passinwind


    Here's one I'm working on for my friends at Marco Bass, and starting to contemplate keeping. The neck is roasted maple and actually brings even more bling than the flake finish.
  12. At NAMM I saw a 100 watt power amp that fits on the end cap of a very slick modular pedalboard system. I let a number of bass players know about it and asked them to go pitch the manufacturer on doing a bass oriented one as well, which to me means 300 watts at minimum. That's also probably about the most power we might expect to fit in your scenario, and as a semi-pro builder I'd want about 8 by 6 by 3 inches for a proper enclosure that would meet safety and EMC certifications. An actual pro could do better than that though, I'm sure. So, how much space is there under your pedalboard, exactly? And do you see a market for a few thousand sales a year over several years, minimum? Speaking of which, a lot of these small-ish boutique power amps are not strictly legal in the US at this time. I see that as potentially playing with fire, both literally and figuratively. YMMV. Over here there's a loophole for not-for-sale test builds, but I'm still generally pretty careful about who I let try my various DIY bass amp and power amp builds out on stage.
  13. Si, Did you try the Jule Simone 500 we had in the Marco Bass booth at NAMM this year? I didn't get to play through it much (or anything else in the booth really), but it and the matching tube preamp generated a lot of interest, for sure. The GR guys were right around the corner too, but I didn't notice if there was a Pure 800 amp there.
  14. RIP. I saw him play many times and it was a joy every single time, from tiny club dates with the PMG to an arena show with Joni Mitchell.
  15. Just reacquired this DIY modular preamp/amp build from 2015. Traded away an even older modular rack build for it, as my luthier freind already has one of my similar all in one amps and the pictured rig was a bit redundant.
  16. IMHO, the market has voted and old obsolete stuff lost. Whatever remains of that technology isn't obsolete...yet. Pretty much the same way it works with the tunes we play, or don't.
  17. That's a fab idea. In a similar but different vein, I've exchanged various bits of amplification gear I've built with a luthier friend for a couple of of his basses in the last few years. I think it's encouraged both of us to refine our craft by bouncing ideas off each other, but beyond that, it's just plain been a lot of fun.
  18. The ones with the duff logo are going to be collector's items, mark my words. 😎
  19. FWIW, a good friend of mine owns a lined fretless 4-string Rob Allen Mouse. In all honesty I greatly prefer the sound and feel of the various standard scale RA basses I've played over the years at GTGs. All the RA basses I've tried have been piezo-only though. I'll admit that I've been less than thrilled with any short scale bass all the way back to the EB-O I started on a zillion years ago as well. BTW, there's a pic of an unlined Turner Ren 5 on the latest page of the Turner "club" thread on TB.
  20. Yep. I see lots of that every year and many production pieces look substantially different by the time they get to market.
  21. My wife actually made me promise not to build any more black cabs over a decade ago. And I'm considerably more than OK with that. 😎
  22. Bummer. Damian plays a whole lot of other styles, some of which I really dig, but NAMM chops is NAMM chops. Hence my absence from that and all similar off-site events.
  23. I have a bunch of these in different sizes: https://www.amazon.com/Cable-Cuff-0803-Adjustable-Re-Usable/dp/B0051PUJC8
  24. I played a fretless Ren bass at NAMM last week. It was a four and had lines, but it was very nice. RT is a great guy too, I really enjoyed talking to him. No idea on scale length options and the like though.
  25. I think they always put that sign up somewhere near the front in an unused space as a warning. I meant to look up that booth on the show locator map to see if it was legit, but I really needed to hear more slap bass first (as if) and then I forgot about it. At least a few people do get shown the door every year for real in any case.
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