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Everything posted by Passinwind

  1. Bench testing Class D amps is often pretty tricky. I really need to pick up a big isolation transformer for that myself. Best of luck, and email me if I might be of assistance.
  2. No need for debate, independent techs have tested it at around 750 watts RMS and Behringer tech support have mentioned that they don't rate by that method, which is often the case these days. Plenty to melt a single 12 no matter how you slice it. I played through one at NAMM briefly a few years ago and was favorably impressed. Whatever became of your DIY amp build BTW?
  3. Noll offers custom MEC pots like that as well. They are far from cheap.
  4. My favorite exercise is playing octaves up and down the neck, all of it. Extra credit for going microtonal.
  5. Here's an overview pic of the Emerald City BassCon last Sunday, held just south of Seattle. It originally started as a Talkbass oriented get together, but it definitely taken on a life of its own over the last decade or so.
  6. I'll put in a word for one of my customers, Marco Cortes, www.marcobassguitars.com. Many of his jazz variants are 34.5" scale (TFL line, which are more the "super jazzes) and have pretty blingy tops, but his newer N1 line are 34 inch, generally more understated, and more traditional in terms of the parts appointments. In the US $1200 gets you into an N1. He winds his own pickups, makes his own finishes, and does the majority of the build work himself. There's at least one dealer in the UK: Great British Bass Lounge. My involvement is with bespoke onboard preamp designs, which he is licensing and ultimately will be producing on his own. Not sure how many used ones show up in the UK, but I've met quite a few European endorsers the last couple of years at NAMM. I have many friends with Sadowsky, Lull, or Lakland basses. Can't go wrong with any of those, in my experience. Best of luck with whatever you decide on.
  7. Sure. My sight reading sucks and I'm bad at pretending to enjoy playing stuff that I actually don't. I can solo and improvise and keep an audience engaged and I can pull off a gig with no practice and without ever even meeting the other players beforehand as long as there are chord charts or it's something with no expectation of "like the record." Just got a call for a big band sub gig tonight and the regular bass player has all the charts and is on the other side of the country. So I'll have to read off the keyboard charts for the ones I don't already have (probably about half), which will be half dots and half chords. It's jazz, but there is very little real improv in most big bands. I've been told many times that my biggest strength is fearlessness, and I'm not the slightest bit nervous, so maybe there's some truth in that.
  8. I can go along with all that, but how about the very frequent cases in my world where the original band never had a definitive arrangement or maybe even played the song the same way twice themselves? I know of Grateful Dead tribute bands that cover a whole live show learned from the Archive recordings, but to me that pretty much misses the whole point of what the band was about. And I never ever want to hear any jazz band play anything just like the record, ever. Did I mention never, ever?
  9. Ughh, I posted my last screed before getting to the punchline. I go to every live show with the hope and expectation of hearing something new, even on the most familiar tunes a band may have been famous for over decades. And I try not to play anything the same way twice myself if at all feasible. Needless to say, studio work is not part of my agenda.
  10. 65 years old, but pretty much stopped listening to much rock music by the mid 1970s. I'll play it myself from time to time in order to hang with friends, but in any case, Grunge is "oldies" in my world and Classic Rap is Old School. I frequently bust on my friends' bands by asking if they even play a single tune from this century, many don't. That's fine, a lot of the jazz I play and like is at least 70-80 years old. But for inspiration I've always generally preferred to listen to live performances rather than recordings. Haven't paid to see a cover band in probably at least a decade. My misguided youth wasn't all that much fun, no need to relive it.
  11. The v3 schematic is finally up on fdeck's site now. The Vong unit looks really good too though.
  12. It's also due to the sort of plywood used in many cases, but I'm not sure which builder's website you're referring to.
  13. Yes, for sure. And T-Is are not especially "classic flatwound" sounding in the first place. I used them pretty happily for many years on this particular bass, but the EBCs suit me much much better.
  14. I've had the lighter gauge set on my standard tuned fretless for a few years now. Those are just a bit stiffer feeling than T-I Jazz Flats, but still very supple.
  15. Same here, but then a few years later the jazz bug really hit as well. I could just as easily have gone with guitar, but in my first band we all also tried bass and drums, and the two primary singers found they did best on lead guitar and drums...go figure.
  16. Three: one EUB, one fretless four, and a recent acquisition that actually even has frets, for the first time in 35 years. It's also my first five string bass to boot. Only got that one for testing onboard preamp builds, but it's been getting played quite a bit more than the ancient fretless four I sold off to make room for it was. I have one electric guitar as well, same one for about 20 years or so. I don't really get much GAS for instruments.
  17. I've seen a few on the Interwebz. My BSX is an older stick model, but it's still hollow, has a faux bout to rest on my gut, and at least it doesn't use one of those awful tripod stands. Out of the various EUBs I've played the Yamaha Silent Bass I tried at NAMM a couple of years ago felt and sounded the nicest, but it's very expensive and pretty much just as clunky as a real one to pack around. I've been playing a friend's AUB at a local house jam most weeks for the last 18 months and, as expected, the urge to make room for a nice one at home is pretty strong these days. The Gollihurs are great people to deal with; very knowledgeable, good prices, and no BS.
  18. Very cool. I've still never managed to get hands on an Eminence EUB, but my old beat up BSX has served very well in getting me gigs I would have otherwise lost out on over the last 15 years.
  19. The booze was actually a bit of a problem as time went on, that venue and many others expected the band members to have a full glass of something upscale in plain sight (on their nickel of course), and to be conversant in the whole culture. We would often see bikers loading multiple cases of wine into their saddle bags or trailers, and a pretty crazy amount of consumption on site. My wife watched them ring $14K in under an hour on just one cash register at one show. But in any case, having regular block bookings like that is especially hard to come by for old school jazz groups in a non-urban market out here. And as so often happens, it was all about who I knew, not how great the band was or wasn't. Although holding a gig like that is a lot different from getting it in the first place.
  20. I thought about posting a few of my favorite dive bars too, actually. There used to be one within easy walking distance that somehow conned world class bands into playing a 100 seat venue in a tiny logging town on a regular basis. I worked sound there for those shows a lot too. But the main attraction was a clientele that genuinely appreciated weird original music, and an owner who was on that plan as well, and knew how to make it work.
  21. There are quite a few other really nice ones around here (Washington red wines are a thing these days), plus a couple of dozen small breweries. But driving along the river on a weekend morning on my way to those gigs was always a pretty special feeling. And the owners made it even more special with personal tastings back in the special reserve tanks and the like.
  22. I used to play this winery right above the Columbia River (http://www.maryhillwinery.com/) a few times a month for several years. It was perfect for my jazz trio and the owners and staff were super nice to us. Their wine is first class too, so for years I had a really nice stash at home. And we got to do tasting room pre-show stints before Bob Dylan and ZZ Top, with a few thousand people coming through before they made their into the adjacent 3000 seat amphitheater. This gig paid OK but not great (regular local scale plus a few bottles each, and pretty good tips), but it was one case where exposure really did pay off. All I had to do was tell other venues that we played Maryhill and that was typically enough to get the gig if the style match was workable. Good hours too, usually 1-5 PM, w/ four45 minute sets. The place next door wasn't too shabby either (http://www.maryhillmuseum.org/) : View from back: Mostly we played arts festivals there, out on the lawn with a great family atmosphere, cool food booths, numerous juried art vendors, and good advertising in the big city markets like Seattle, Portland, and Vancouver. If your band made the promo poster as a featured artist you could leverage a ton of mileage out of that. I think we managed that three years in a row.
  23. Marco Bass Guitars TFL5:
  24. Which is doubly bizarre given that Talkbass is chock full of ads for used ones.
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