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Everything posted by Passinwind

  1. The best way to figure this out for real is to simply measure it yourself. If you have even a rudimentary soundcard there are plenty of freeware solutions to doing that. Several years ago a friend on another forum asked why just cutting his ten band EQ pedal at 32 Hz wouldn't work just as well as using a dedicated HPF. So here's roughly what a 10dB cut at 32Hz would look like: ...compared to a fixed 12dB + variable12dB format HPF set for a -3dB point of 32Hz: Note that especially in at least the first case whatever native low rolloffs the rest of the system provide could impact the left side of that curve quite substantially. Hence my recommendation to actually measure rather than assuming.
  2. From my three basses, yes. The 17 piece big band that I sub in prefers my fretless 4 to my EUB, for instance.
  3. I've lived in the US all but one year of my life Blue, but yeah, from what I've seen the Midwest is very different from Washington and Oregon for sure. The J knockoff was a loaner and I also prefer the other bass in question in this context, so there's no issue there on my part. But the OP asked if my bandmates or audience would notice if I brought a Squier, and at least one clearly would. Anyone I play with on gigs typically gets to choose between the three that I own (one fretted 5, one fretless 4, and one EUB) and if they wanted a Fender-ish bass instead I would gladly let them buy or loan me one if it meant that much to them. Same for upright, which one band does currently provide for rehearsals. It's just a tool in my world, not a religious artifact.
  4. Nope, but it has nothing to do with disliking Fenders. She just prefers a certain bass that I already own for this particular act.
  5. That answer was accurate, but perhaps a bit flip. In the case of my current occasional bass guitar gigs it would still be a "no" though. The diva I play with would definitely notice (not hypothetical, this actually happened two weeks ago), and whether it was a Squier, MIM, MIJ, MIA, or "boutique" Fender knockoff, she has specifically and repeatedly requested something else. But in all honesty, I really enjoyed playing that particular J knockoff-ish bass, and I'm sure I would've enjoyed playing a Squier J to some degree as well.
  6. Don't blame me for giving an honest and accurate answer. And just put a foil on that slab and drop in at Jaws, no worries.
  7. No, unless they have suddenly starting making EUBs and/or AUBs.
  8. I mostly enjoy that fact that all my basses, amps, and cabs were built either by personal friends or by myself. And the fact that most of those pieces are one-offs is all the better.
  9. Yep, I understand that apparent contradiction.
  10. Very interesting and caters to an oft requested niche, hope he follows through with the necessary FCC certs so we can use these legally in the US.
  11. Sure. Space Is The Place, with pretty much any incarnation of Sun Ra's band.
  12. If you just want a very simple, good sounding gain stage with no fluff, the Tillman FET preamp is pretty swell: http://www.till.com/articles/GuitarPreamp/ You can find many variations on this theme online with a few few minutes of search time.
  13. Not at all surprising, it's all obscure and/or one off stuff. L-R: Marco Bass Guitars SC5 prototype, Crescent Moon fretless, BSX Model 2000 EUB. I've personally organized quite a few Talkbass "Get-Togethers" over the years, and traveled as far as 2500 miles to attend others. Most of ours are free for the attendees, with varying degrees of vendor and "rock star" player participation. The picture I posted is from last year's Seattle event, which I think drew around 60-70 players. One had the option of catered food and beer, or not. And that beer in cans is not even available at the brewpub the event was held in, BTW.
  14. In the US we have a pretty strict ratio requirement for beer/basses: But since I am a senior member I was allowed to slide a little last year. I'll bring more beer next time, I promise.
  15. You might find it worthwhile to play around with a ramp, which makes digging in pretty much physically impossible. In my case it hardly made any difference though, since I've always played with an extremely light touch anyway.
  16. I really enjoy helping other DIY'ers work through Spice modeling, and that's actually a big part of how I came to do this open source thing. Essentially, a friend dropped a working model in my lap, and I revised and adapted it to a DIY friendly format. There are links in my Talkbass thread to some interesting prior art as well: https://www.talkbass.com/threads/the-passinwind-open-source-preamp.1259692/#post-19536322
  17. I think that's a good call. If you haven't already, you might want to take a look at my (non commercial, completely free) open source onboard preamp design on Talkbass. I'd be happy to send you the LTSpice model to play around with, but the schematic is already available in the project WIKI over there. Here are max treble cut curves for one particular build: But I've found that how you set up resonant overshoot/damping at the response knee makes a great deal of difference in play feel, and there are quite a few other interesting nuances to dive into. Looking forward to seeing and hearing what you come up with.
  18. At what slope? I once started in on a standalone variable HPF design, which I gave to a German friend to develop as he saw fit. That was years ago though, not sure if I can even remember who it was. All my DIY amp builds over the last few years have had one, but it has always been tightly integrated with all the pre-existing rolloffs of various other stages in the amps. LTSpice is great for modeling that sort of thing.
  19. Nice. Duke provided a new prototype TC112 NAMM cab for the Marco Bass Guitar booth I was in this year. It used the same Celestion compression driver he uses in his TC115 and TC118 cabs. The TC118 has always been among my very favorite bass cabs, and that compression driver plays a big part in that. There was also a secondary top-firing tweeter, meant to spill around the amp sitting over it. Seemed very far fetched, but it actually worked quite well. Very much looking forward to seeing you new iteration come to fruition!
  20. Same here, but oddly enough the luthier I've been working with lately wanted nothing more than a decent Jazz Bass preamp that can fit under a stock control plate, so I guess I am learning to love them now! I never got the appeal of singlecuts at all until I actually tried the right one. Last thing in the world I expected to ever own. I almost never play sitting down, but the SC I own balances superbly while standing and even though it's a 5, it's actually lighter than any 4s I've owned in the last few decades. I absolutely love the initial look on the old country players' faces when I bring it out to jams, but many of them have warmed up to the look and especially the sound in time. And yes, it's full hippie sandwich/coffee table, all the time. Wouldn't have it any other way...
  21. Anything with a plastic pickguard. Don't generally like painted ones either. But as with most everything to do with music, it just depends. Mostly on my mood at any given time.
  22. Those amps are infamous for the power stage bias drifting and creating distortion. If that is the case you should be able to hear the same symptom through other cabs. The fix is not terribly difficult, but is generally best left to a qualified technician since getting it wrong makes for a pretty expensive episode of releasing the magic smoke.
  23. Just turn down your hearing aids and play dumb. Works for me.
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