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Jus Lukin

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About Jus Lukin

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    Must...Sell...Gear...
  • Birthday 04/10/1978

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    East Sussex

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  1. That's exactly what I was thinking! Very embarrassing when I sat down with my wife, her aunt, and my father-in-law to watch 'this really funny show' I'd seen. The sandman noisily rubbing one out at every opportunity was a bit cringeworthy- that said, those shitbags wove a hell of a trap to keep my poor Mrs living in the family pile (3 bed semi at the cheap end of the road) until she dies, so screw them.Turns out they deserve far worse than that awkwardness.
  2. Ah, a support gig! I assumed you were in Stings band. Still, a great run of shows to be on. Have a good time out there!
  3. I'd be interested to hear how you get on with this. I have an HBW80 which I bought to drag around when the company amp finally blew up on a touring show. I expected to sell it afterwards, but it is now the house amp at a weekly blues session. I can leave it in the pub now, and only ever had to lug it the usual theatre load-in, so weight was never an issue, although while it's heavy for it's size by modern standards it's really not that much of a lump anyway. It's no low-end monster, but it has always been for old school tone where volume needed to be kept low, so I have found it suitable, but I can see the need to attempt to improve it. As far as Thiele-Small specs go, there are lots of reasons this may not go well, but as is usually the case, if it sounds good, it is good! With the move to 8ohms the wattage will likely be cut to 50w or so, but that will have less impact on output than the sensitivity of the Pyle. And is it me, or is the chorus pratically non-existent on the amp, not to mention an odd addition in the first place?!
  4. It does refract the light beautifully in a Champagne flute..
  5. Ah no, not Toilet Duck again...
  6. I also just glanced at an interview in which he said he was using Ampeg with a Mesa for the midrange, so he may be blending Mesa guitar gear in for a certain tone, but not using it for the whole bass sound. This reminds me, I haven't run the Rick through the 4x12 yet! Must be done...
  7. Check out the Mesa Powerhouse 4x12. That's the one I was thinking of! Looks to be discontinued, but images are on the 'net.
  8. Bill will give you the full works on the subject. The issue is the drivers in terms of 'safety'. Guitar drivers usually have lower power handling and excursion which puts them at risk of damage in bass use, and also makes them less effective for making 'normal' bass sounds. They were used for years though, and have created some classic sounds. If you like that sound and understand the limitations and risks, it can be done. I have split the difference and have bass drivers in a guitar 4x12. It's great, but the cab colours the sound dramatically. There isn't much sub-bass (about 60hz and down) to speak of, a roaring mid-range, and a roll-off of the higher frequencies. It also beams a lot due to the driver layout. It's great for dirty, classic rock bass sounds, but is not a cab for every situation. It was an experiment, remains a frivolity, but is an awesome thing to drag out when the occasion allows. One day I may find myself a Marshall Super Bass or other lower powered valve head to complete the wonderfully flawed package. The Mesa 4x12 may not be a guitar cab though- I think they make/made a ported bass cab with 4 12's arranged diagonally from each other, which would be quite a different beast. I'll have a look, but it may be that he was using something like that rather than guitar cabs. EDIT- CameronJ got in there just before me on that last paragraph!
  9. You just couldn't leave it the full decade, could you?! I keep forgetting Prince's version of Nothing Compares. I think it may have started because I was more familiar with Sinead O'Conner's cover. It's always the chorus- I know the changes in my head right now, but whenever I get to it I blank out. That gig only comes round a few times a year, so I never drum it into my head either. There's a bit of homework for me to do when I get the chance! πŸ˜„
  10. It's all good- there's just something about compression threads. We can't even stick up for them with tying ourselves in knots! At least there are some of us here as passionate about compression as are those who love to hate it! πŸ‘
  11. Only in the context of a public discussion in which at any moment someone might say that compressors don't do anything, or won't do anything a dirty amp won't! ☺️ You say that it doesn't make any difference where the change in dynamics comes from, but my whole point was that to those who poo-poo compressors and don't know how they differ to a dirty (clipped) amp, the distinction is worth making. I said I'd regret bringing it up...
  12. @51m0n, as with the other thread, it looks like conceptually we are in complete agreement. Sure, there's the semantic matter that a reduction of dynamic range is a compression of the range, but I think that's a bit of a red herring, and on a forum in which full or part featured compressors are so easily dismissed, I'm keen to highlight the specific benefits of them, particularly apart from dirt boxes in this case.
  13. @51m0n- I won't quote the post as it's quite long, but I don't think we're in disagreement here at all. I'll go into more detail as I know Al may be listening! My phrase is about as simplified as it comes, but essentially covers everything you said regarding compressor control. The input signal is presented at different volumes at different times. Sure, measured in ms, and we can control many aspects of how and when the volume changes occur, but I don't see how the blanket statement is inaccurate. As for the basic action being that the volume simply goes up and down, we both used the same historical reference of riding a fader- we can tell the engineer when, and how far, and how fast to move his hand, but it can only go one way or the other over time. That the background noise rises and falls in opposition to the envelope further shows that the volume is simply being turned up and down, to our specification of course. Regarding comps which include a valve stage and call themselves a valve compressor, of course the compression comes from the VCA which is acting on a clipped pre signal. Two separate processes, to me. Bringing it back to the Becos Stella, the saturation control, wherever it occurs in the circuit, is adding a clipping section to the compressor. Just because it is part of a compressor pedal doesn't mean it's part of compression per se. Similarly (but differently!) the 'pixie dust' of an 1176 or LA-2A I would say is a wonderful side effect of the original intention. Still designed as an electronic fader finger, as it were, the technology used adds other inaccuracies which while not 'perfect' add something better than perfect in some situations! I'll bring up the smashed digital limiting too, just because it does sound like gash. If mastering is a dark art, then that kind of limiting is floodlights in place of reference monitors! πŸ˜„
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