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Beer of the Bass

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  1. It's limited and not the most reliable, but if you're using a tape echo for its interesting character, they have a lot of that. They're certainly crude next to something like a Space Echo, but I've owned a Roland RE201, a solid state WEM Copicat and the Melos, and the Melos does have its own charm for shorter echo times with dirty sounding repeats.
  2. Yeah, the band I was so heavily reliant on tape echo in isn't even around any more! Though I ended up being pretty happy with the Catalinbread Belle Epoch, with the only downside being having to crouch down to tweak knobs instead of leaning over to a box on top of my amp. I recorded twice with that band, first time with the Melos, second time with the Catalinbread, and if anything I like the way my echo sounds came out on the second one slightly more.
  3. I would say for those styles (and particularly with OD) you don't want a horn, or at least you want one that can be turned off. And while I can understand wanting a wide, square format cab for a large head like that, there's no particular reason to stick with the 4x10 format. You might find 2x12“ or 15" options with the right form factor which would also do the job.
  4. It makes some sense. I'm sure we've all played standard PJ basses where the J pickup had less output than the P, so putting the P in the bridge and the J in the neck might even things up.
  5. I find the rubber practice mute combined with some foam f-hole plugs I made does a reasonable job of taking things down to neighbour friendly levels, where either on it's own doesn't quite get there.
  6. If you can't find the specs for the Behringer drivers, it wouldn't be to hard to work out the volume and port tuning of the 4x10", and then design the new 2x10" box around half of that volume and the same port tuning.
  7. Behringer drivers are likely to be proprietary with no specs published - one of the ways they keep costs down is by keeping as much of the manufacturing as possible in-house.
  8. There are mixed opinions on the different valves available, and their performance varies between amps (some amps are more prone to microphonics than others, some have circuit designs that cause reliability issues with certain valves etc). Not all valves from the same factory are tested and screened to the same extent either. Some say the Shuguang valves are fine if you buy them from a seller who tests them. But I do feel that the stock valves with the PF50T are not great. I had my power valves replaced within a couple of weeks under warranty, and not long afterwards switched to a NOS Philips ECC82 in V3 which reduced the microphonic sounds considerably.
  9. Does it come through the speakers or is it heard acoustically from the amp? On my PF50T the phase inverter valve was microphonic, and replacing it helped considerably. You can test for microphonic valves by gently tapping them on the glass with something non conductive and listening for a ring through the speakers. On the PF50T you can do this with a wooden cocktail stick through the cage without removing anything.
  10. I'd be concerned that any event which would previously have caused the bridge to fall over or shift is now going to be putting unusual stresses on the end of your fingerboard. I can't imagine it'll do much for the acoustic tone and projection either, though I'm guessing you have this bass geared more towards loud amplified use.
  11. I'm a little puzzled by Ampeg EQ being considered useless compared to Orange etc. Fair enough if you're not fond of the voicing of their amps, but I'd consider the SVT, V4B or PF50T to have among the more versatile EQs on valve amps, since they can boost or cut mids at selectable frequencies and few others can.
  12. I came pretty close to putting a bit of slap on one song of the album my band recorded recently, but chickened out and used a growly fingerstyle near the bridge instead. Though I'm flatwounds + small valve amp and no tweeters, so it would have been more of a 70s Chuck Rainey slap sound!
  13. There are places where slap is just right, but in the music I enjoy most they're quite infrequent. The funk styles that I feel most strongly are largely fingerstyle. So I guess I just think of it as a strong flavour that some people badly overuse; sometimes nothing else will do, but more often I hear people cramming it in where it didn't need to be.
  14. I tend to think loosely Fendery or Gibsony, and Fendery guitars are definitely where I'm most at home. Though I did really enjoy the 335 copy I had around for a couple of years and used on about half of the last NUF album. So I think PRS maybe confuse me by not being firmly in either camp, though they seem like really comfortable and versatile guitars! Like most things I'd probably need to spend a little time with one for it to click.
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