luckydog

Perhaps, PS. I started as a guitarist decades ago, and pick pass is natural. But then so is finger bass natural, and over the years I've spent more time playing fingers than pick.............I really don't get why there's any problem switching, and choosing what works best for the band and sound.....?

I never really thought about it, that either would seem unnatural to pick up ('scuse pun!) !

LD

Here's a great clip of Tina Weymouth live playing pick:
[url="https://www.youtube.com/watch?v=2RpcR2ueY_s"]https://www.youtube.com/watch?v=2RpcR2ueY_s[/url]

And a great clip of her live playing fingers:
[url="https://www.youtube.com/watch?v=XIW4skg3Ceo"]https://www.youtube.com/watch?v=XIW4skg3Ceo[/url]

Nice tone and groove either way to die for !

LD

[QUOTE] Twincam said:

some people say you can get the sound playing near the bridge with your fingers, no, no you can't[/QUOTE]

Tina Weymouth perhaps gets close and is unique in many ways, but you're right you can't blag it (not that I think she even tries to, she's great !)

LD

Outdoors, drums sound pants without a decent PA, and once one has a decent PA it's business as usual for bass through it. Outdoors requires far more power to achieve the same level, and really that has to come from the PA to be sane......

Outdoors, bass rigs sound 'truer', if quieter, than they do indoors. But if the rig carries over un-mic'd drums indoors, it will outdoors too, just it will all be far quieter and drums in particular sound c**p !

HTH !

LD

+1 for PS's post above.

Choose the port resonance to suit the driver, and make sure it holds enough air in the port to cope with the normal flux of air, cos this limits the level at which the port will work - though at 4" diameter that should be fine.

Without going Einstein, it's best to calculate and design it, because it's unlikely to end up optimal by trial and error even though that is fun to do to hear the effects.!

LD

Hi FinnDave, man that's so tough on the pain. Yes I recall that DIY pick looks good.

All picks that size from point to top stick out further though, because the top of the pick sits in the crease of index finger knuckle - that's where it's comfortable to hold.

A shorter pick can sit entirely on the pad of the index finger, so doesn't stick out as far when top is sitting comfortably below the crease of yer index finger knuckle......hope this makes sense. So you might try making a shorter pick, strangely enough they require less grip because they don't stick out as far? Then there's no point in making the body bigger than the area of grip, so can be pretty small and ironically much easier to grip with less force I find?

I find I have to grip tighter with a normal pick, because the point sticks out further and the pick gets levered when it hits the strings. HTH!

LD

[QUOTE]DaytonaRik said:

that Thin Lizzy tone[/QUOTE]

Yup, if I had to choose only one tone forever, that would be it for me. PL used a pick, of course!

LD

Before ripping wiring apart, try tapping the offending pickup with a plastic pen or something that isn't ferrous metal ? It's just possible perhaps that the magnets interact between the two J and P pickups, and this is what you are hearing picked up in whichever one is on ?

LD

[QUOTE]FinnDave said:

I am steadily reducing the amount of exposed pick.[/QUOTE]As blue says, this should really help I think. It reduces force needed to to grip the pick, it twists less. I end up with only about 1/8" sticking out, just the point really, just enough for the pick to be the thing that hits the strings rather than my index finger nail. But whatever works ! HTH!

LD

I use a pick for timing and tone. Accuracy of the release point for tightness and a clearly defined click to mark notes suits the band sound which has crisp timing. This also helps definition in recording generally, so I try to record with a pick.

Picking can bring out full tone spectrum of a guitar, esp mids/tops and so bring the bass forward, which suits the overall band sound in this case.

I also play with fingers, in fact mostly this is how I've played over the years. Which is the flip side being warm and in touch, and all that.
Really, both ways are complimentary, and choosing on the basis of the band and overall sound seems best to me.

LD

[QUOTE]FinnDave said:

Of no particular relevance, I was having a drink last week with the former Lindisfarne member who played mandolin on Maggie May. I could ask him about the bass next time I see him. [/QUOTE]Hey FinnDave, that's cool. Do it ! That bassline is well worthy of knowing it's story.......

LD

Anyone else think the original was maybe played on a Fender VI ?

LD

It's a very effective bass part IMO, haven't ever really paid it much attention til now. Appears to be improvised, and if there are drop-ins they aren't obvious. It warmed up as the track went on, which also suggests it wasn't very rehearsed perhaps ? There's numerous timing gaffs and dropped notes that aren't as prominent as the howler, but they are left in and it works.

Nevertheless I like it a lot. But would be hard to rip off the original feel and effect I think.

Maybe need not to worry about gaffs, and get into the mindset/spirit of it and improvise around the scales and patterns with relaxed timing, if it is the original feel you're after? But it still might never quite capture it, if you catch my drift.

LD

Age difference: if you're older it won't work if youngest member is less than half your age + 6 years. eg if you're 42 youngest member should be 27.

Luckydog's law of band age

And vica versa !

LD

It's not you, it's me................

LD

I have an open wound on my backside and the dry ice irritates it.......?!?

LD

It's generally a switch mode PSU which allows the amp to be small and light, which could be applied to any class of amp I suppose.

But it lends itself to Class D because overall there isn't then much heat to get rid of, so amp case can be small and the overall amp light.

In class D the PSU still has to stand and deliver significant current to the load, at significant slew rates - it also has to be able to sink current returned by the load. Really it is as important in Class D as any other class, the PSU. Has some different constraints as well !
LD

As posted on a different thread, even with the same module, the PSU circuit can influence performance and is a key part of a class D amplifier. The PSU is seldom standard or modular.

I don't know if the early class D products had a learning curve for PSU deign performance, wouldn't suprise me. Wouldn't suprise me either if not all current class D amps are the same as to PSU performance !

LD

Class D is different, because it doesn't rely on device technology, rather it relies on circuit design.

So early examples, if well implemented, might well be good I think. It's yonks old isn't it ?

LD

With vintage gear there is the benefit of hindsight, and gear that earns a reputation and survives the test of time has already been proven to have some merit. Unfortunately none of the early tranny amps have passed that test, I venture because they sound awful.........

What did Chumbawamba say "Nothing is completely useless, it can always serve as a bad example......." ?

LD

I briefly owned a vox T60 head back in the day - diabolical in most respects I recall, not least there was a permanent waterfall in the background by way of noise !

I also briefly owned a HH VS 100 watt combo, which sounded great and is rightly now a classic and super loud. Likes of Wilko etc, classic sound. This was prob made about 10 years after the Vox T60 and things had moved on a long long way.

The Vox T60 used germanium transistors throughout, I think it dated from the early 60s, though it was the 70s before I encountered it. BTW, nothing as recent as 2n3055s, output trannies were OC28s ! And yes, they used to fail !

The HH VS was early days of power mosFETs IIRC - things had moved on a long way soundwise in 10 years or so.......

LD

Sound City.......nostalgia ain't what it used to be...........

I worked at Sound City in Shaftsbury Ave in the 70's, in the amp repair workshop in the basement on the corner of Gerrard St. As well as repairing all manner of amps, the workshop used to hand build Sound City heads there.......

I was the general dogsbody, got to play and test all manner of amps, and it shaped my opinions forever of what sounds 'right'. I also learned about amp repair, esp valve amps. Both my back and my ears survived, and I wasn't electrocuted - I count that as a success looking back on it. Got to meet iconic guitarists too, just took it all for granted at the time.

Anyways, Sound City amps look like they belong to that time, will always be sort of classic in my mind. Whether they are classic amps in the true sense, well I think so, they have their place in the history of it all. I would say that I suppose, I built some of them !

LD

Great to meet you guys at FL's this aft!

Appols I missed you play though - had to leave early and sort out unforseens.....next time !

LD

+1 on advice so far: It shouldn't ever hurt and don't push through any pain.

Reminds me of Tommy Cooper: "Doctor it hurts when I play G mixolydian" Doctor: "Well don't do it then!"

We find our own fingering that works for us. I think that someone else's fingering is like someone else's toothbrush: it might look very nice but you wouldn't want to use it !

Oddly enough, I got a bad cramp in my left forearm last week at rehearsal playing a song which needed repetitive full stretch at the first fret........

LD

Even with the same module, the PSU that can make a difference because of the oddities of class D !

LD