BottomEndian

[quote name='mildmanofrock' post='685611' date='Dec 15 2009, 07:42 PM']That's true. Although some things seem to escape criticism on here - Aguilar, Epifani and Bergantino spring to mind. Are they as perfect as the reviews suggest or has anyone tried and not liked?[/quote] A/Bd my Vintage against WoT's Bergs and warwickhunt's Aguilars a few months back. Not a gig situation or anything, so maybe not the ideal test, but neither the Bergs nor the Aggies really did it for me. A little "thin". But I have to agree totally with the point that it's horses for courses. I mean, personally, I can't grasp why someone would want a tweeter in a bass cab, but people do. It's their choice.

[quote name='wateroftyne' post='684647' date='Dec 14 2009, 10:55 PM']Windows is... different. I was never enamoured with the instrument bit, but the record basement was always fab, with lots of bargains and obscure stuff. Unfortunately it's been restructured recently and 'dumbed down' a bit. Shame.[/quote] Big shame. When I first moved up here, Windows was my go-to spot for CDs. Haven't been in for an age, but it sounds like I'm not missing out. Now that they've got the unit in the Metro Centre (I don't get into the Toon centre much these days), I've been able to sample the Windows "offering" of instruments more recently... meh. Just meh. It's where you might take your 11-year-old to buy their first bass (assuming you knew nothing about instruments), and then you'd wander around staring upwards for ten minutes (virtually all the basses are hanging with their lowest points about 8 feet off the floor) before being roundly ignored by staff who are about as much use as a ladder made of gas. Not much fun IME.

[quote name='MythSte' post='684636' date='Dec 14 2009, 10:49 PM']hehe, the new ply is rediculous BEndian, I can one hand it on flat ground. im only 5'9" and not what i'd call on the built side of things![/quote] I'd still struggle. My legs are so short that standard carrier bags scrape along the ground as I carry them. I sh*t you not.

[quote name='Wil' post='684290' date='Dec 14 2009, 06:38 PM']It is really, really, and I mean really light. I literally watched Rob lift the cab above his head last night. ABOVE HIS HEAD![/quote] OK, I know the Vintage is light -- I've got one. But ABOVE HIS HEAD? The new ply must have made a [b]serious[/b] difference. Or Rob's been down the gym. [quote name='Wil' post='684290' date='Dec 14 2009, 06:38 PM']As I heard it in action while at rehearsal, I can attest that is pumped out a reasonable volume with the Ampeg driving it at full whack (not quite as ball shatteringly loud as my old GK Neo 212 and 112 rig, but could be the voicing - to my ears it had a very scooped tone even with the mids on the amp whacked up, but then again, Rob's Pedulla does have the dreaded "mids? what do you mean, mids?" Bart pickups )[/quote] I think this has to be the bass, head or something else in the signal chain. IME with the Vintage (no tweeter, but that shouldn't make a difference through the mids), it's the rich, thick mids that make it what it is. I remember propping up the bar with The Bass Doc while WoT was playing a gig through my Vintage, and we kept remarking on the thick fruitiness of the mids. There's even a little peak in the frequency response in the mids (around 1kHz IIRC), which really pushes the bass through the mix, especially on a fretless. FWIW, I've never thought of the Vintage as flimsy. In fact, I just went and sat on it to reassure myself. Rock solid. Again FWIW, the sound of the speakers in mine is still "maturing" six months on (although it's not getting as much play as I'd like at the moment, so it's taking its time...). Although there was initially a lot of bottom, my bottom is growing and tightening at the same time. And there aren't many people who can say that. No, seriously, it's rounding out and filling up. Oh, I give up. There's no innuendo-free way for me to talk about the low end.

[quote name='wateroftyne' post='683178' date='Dec 13 2009, 06:04 PM']FWIW, despite my suggestion earlier, one of the most convincing URB-alike tones I ever heard was from the hands of The Bass Doc, playing flat-strung Jazz with the bridge pup solo'd and the tone knob rolled off. I didn't believe it either, until I heard him do it....[/quote] +1. I've heard The Bass Doc do this on his P/J, and it was superb. I seem to remember he was plucking [b]well[/b] over the board -- maybe around the 12th fret? Obviously not bang-on the URB sound, but it was closer than my Ashbory's ever got.

Thanks, Major. Top-class stuff, as ever. Can we start some sort of Campaign for Cross-Genre Clarity and Consistency in Chord Symbols and Nomenclature? Join the CCGCCCSN! Catchy acronym, huh?

[quote name='wateroftyne' post='681270' date='Dec 11 2009, 01:12 PM']Precision w/rounds:[/quote] You put rounds on it? Man alive... you'll be fitting EMGs next. Slippery slope.

[quote name='fatback' post='681372' date='Dec 11 2009, 02:22 PM']Fretless and flats? What about Mwaah? I've always imagined that round were a big ingredient of mwaah. Am I wrong?[/quote] I think mwaah is dependent on quite a few factors. I get as much growl and mwaah as I could ever want on my fretless SR5 with La Bella flats, but that may be due to the polyester-coated ebony fingerboard. Action seems to play a pretty big part in it too, and technique [i]in both hands[/i] is important.

[quote name='joyousjake' post='681444' date='Dec 11 2009, 03:42 PM']Does anyone know of a bass similar to the K5? What was the K5 modelled on?[/quote] Like maxrossell says, it's very similar to the SR range, but the electronics appear to be substantially different. The K5 has active pups and a sweepable mid in the preamp. Chances are the K5 will sound pretty different, but the only way to be sure is to compare one to an SR. Or find someone who's played a K5 and a few SRs and ask them.

[quote name='Major-Minor' post='680997' date='Dec 11 2009, 09:21 AM']Can I just correct one small point here: You say "Dsus is equivalent to C/D". This is not quite right. Dsus is DGA C/D is DGCE If you wrote D7sus you would get DGAC If you wrote D9sus you would get DGACE The Major[/quote] Thanks. I'm happy to stand corrected. The thing is, ten years ago (back when I were a lad with only classical and rock backgrounds) I would never have said Dsus = C/D. I've long thought of Dsus as DGA. However, with a bit of exposure to jazz theory (and I'm pretty sure Mark Levine lays it out like this in [i]The Jazz Theory Book[/i]), I've come across the idea of Dsus = C/D too many times to ignore. In fact, looking at Wikipedia (that bastion of accuracy ) again, they've got it there as well on [url="http://en.wikipedia.org/wiki/Suspended_chord"]the page for suspended chords[/url]. I mean, it's Gsus = F/G there, but it's the same thing. I'm coming to grips with the fact that jazz chord terminologies seem to imply different things from standard "rock"-style symbols, but yes, this one's always struck me as a bridge too far. I guess it's an easy shorthand for a much more complex chord. If every jazzer knows that ([b]in jazz[/b]) Dsus actually means D9sus without a 5, that would make charts simpler to read. Of course, I'm happy to stand corrected again. Yours, Confused of Corbridge

Also, [url="http://en.wikipedia.org/wiki/Chord_%28music%29"]this Wikipedia page[/url] covers a lot of chord types, so it might be worth a squizz through that.

[quote name='Al Heeley' post='680336' date='Dec 10 2009, 03:11 PM']Not too hot on the theory and nomenclature side, I understand a major chord is basically the 1st, 3rd and 5th note in a scale, and that a minor chord is the same but with the 3rd note flattened. A seventh is presumably notes 1,3,5 + 7 added in to form a chord. However when you get to 9ths and add 11's, how does that work considering a scale has only 8 notes in it? Also, cn someone explain the meaning of suspended when in the contect of Asus4 chord for example?[/quote] When you work up the scale, you go from 1 (root) up to 7, and then the next note's the root again, just an octave higher. You can think of that octave as note 8, so note 9 is the one after the octave and so on. So a C9 chord (for example) adds a D to the top of the chord. Yes, D is also note 2 in the scale, but using a 9 suggests that the D should be voiced into the second octave. (Incidentally, when you see C9, it's implied that there's a flat 7 in there too, so the chord would be C,E,G,Bb,D.) Suspended simply means that there's no 3rd in the chord, and it's replaced with a 2 (sus2) or 4 (sus4). In jazz, a sus chord is a dominant seventh chord with an added fourth, which can be written as a slash chord: Dsus is equivalent to C/D. HTH. Someone with much deeper knowledge than me will surely be along soon to add, correct and fill in the gaps.

I bought Max's Enigma Qballs. Nice guy, fun to haggle with (although I'm the worst haggler in the world ), and the pedal turned up excellently packed and in tip-top condition. Recommended!

[quote name='Rich' post='679876' date='Dec 10 2009, 07:55 AM']But there will also be many of us for whom 'Vd' will really only ever be something we sniggered about in the playground when we were 12.[/quote] I don't know what you mean.

[quote name='Sarah5string' post='679613' date='Dec 9 2009, 09:52 PM']That video is disturbing.... lol[/quote] Yeah, but it's kind of hypnotic. I've watched the whole thing three times.

[quote name='Sarah5string' post='679592' date='Dec 9 2009, 09:36 PM']What the fickety feck is a powerball?[/quote] It's a gyroscopic device for developing "lonely gentleman's arm": No seriously, I've got one and it's a nice strength-developing tool, but I agree with Doddy here -- this isn't about strength.

[quote name='skankdelvar' post='678155' date='Dec 8 2009, 04:43 PM']So, anyway - Alias - much missed. "Outrigger requiring immediate extraction".[/quote] God, that brings back memories. Just trying to remember who had the codename Outrigger... was it Dixon?

[quote name='wateroftyne' post='677516' date='Dec 8 2009, 09:05 AM']I suspect the Compact was just ticking over, and it handled everything very nicely indeed. Even though my Jazz has flats, I just rolled the treble up a little more than normal and got lots of bite, clarity and definition without the scratch and sizzle. Apart from pushing the treble a little, the EQ was pretty much the same as when I use a single Berg HS210 in the same room. I could hear myself very well, despite only being a foot or so in front.[/quote] So how does it compare to the Vintage? Same colossal low end?

[quote name='Sibob' post='674210' date='Dec 4 2009, 02:48 PM']It would be interesting to know if anything musical has been written theoretically before it has been performed creatively, like some other 'conventional' scientific experiments.[/quote] [url="http://en.wikipedia.org/wiki/Aleatoric_music"]Aleatoric[/url], [url="http://en.wikipedia.org/wiki/Stochastic_music#Music"]stochastic[/url] and [url="http://en.wikipedia.org/wiki/Generative_music"]generative[/url] musics by their very nature have to be defined theoretically before they can be performed (or even composed). Of course, some of these things push the boundaries of what people think of as "musical", and the type of "theory" we're talking about here moves way, way [s]beyond[/s] outside "normal" music theory. But you get the drift.

[quote name='wateroftyne' post='669384' date='Nov 29 2009, 07:36 PM'][/quote] Are they all Howard's? A lovely bevy of basses there. I'm particularly intrigued by the fretless Jazzenstein up front there. More details, please. Looks like a corking afternoon was had.

[quote name='Born 2B Mild' post='669330' date='Nov 29 2009, 06:51 PM']Hope the Mesa is easily fixable WoT![/quote] Sounds ominous. Bash casualty?

Gutted. Spent the afternoon sleeping, watching [i]Scrapheap Challenge[/i] and taking on plenty of fluids. Still, glad all was good for the Bashers. Next time, next time... Bash pics, please, so I may live vicariously via the internet.