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thodrik

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About thodrik

  • Birthday 16/05/1986

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  1. Honestly, with so many young people these days being socially aware, not drinking and very health conscious, rock bands are very tame in 'wildness levels' compared to the bands of the 60s-90s. I say this as someone who turned 36 today...
  2. This is a really enlightening post. As a useless anecdotal note, my 'dream amps' as a teenager in the late 90s and early to mid 2000s were generally the boutique hybrid/Mosfet amps or all valve amps that were priced at around £1500-£2000 bracket even then. The cost of the boutique class D bass heads that my 14 year old nephew dreams of owning are generally in the £800-£1200 bracket in 2022. In the meantime the cost of a passive US made Fender bass (say the old American Standard compared to the new American Pro) have essentially doubled in the same timeframe. With that in mind I think that the modern class D amps offer phenomenal value.
  3. Thanks! The green pedal is a clone of an Earthquaker Hummingbird. My pal is now making loads of pedals. I also have a GCI Bass Brutalist overdrive which I actually use for guitar. The Mesa 6x10 is the best cab I have ever used. Just brutally and impractically heavy and frankly unnecessary for most gigs. Big Block is immense too. I wanted that head for about 12 years before I finally got one!
  4. Thanks, I entirely forgot I posted a link to the album in this very thread last year! I am turning into some kind of stoner/doom spammer. Apologies all!
  5. I have five main basses with each bass getting alternated every few weeks when I practice. I have owned all but one of my basses for well over a decade so I am familiar with them all to the extent that I can chop and change on short notice. The most played one at home is my 'new' five string as I am still familiarising myself with it as I have only owned it since 2016. I might practice sitting down, I might practice standing up. When I practice sitting down I still retain the ability to play a gig, rehearse or record standing up, so it has never been an issue for me. If I can't play something standing up that I can play sitting down then I take this as a sign that my strap is in the wrong position rather than I need to practice standing up more.
  6. Basses, rigs, artwork and pedals attached! Main doom machine is my old P bass. Generally I tune to C sharp standard or drop B. Five strings are tuned the same but with an added high A string, so despite being used for stoner/doom they are tuned 'up' rather than down from a standard five string. Main gigging amp is actually the Mesa combo but used to gig the Fafner with a Trace Elliot 1x15 I gave to my nephew. I've had the V6 and Fafner for a about a decade each. Big Block and 6x10 I just got for silly money second hand in the last few years. Presently saving up for a 4x10 that is more practical than the 6x10! Pedals are a work in progress. Not convinced if I like the voicing on the B3K. Unfortunately though I discovered this after I recorded a whole album with one... https://electricmother1.bandcamp.com/album/ii Joined this band when I moved back up north. Not toured like we planned because of Covid. When I joined we recorded an album with plans to tour more extensively but Covid hit and that touring is probably not going to happen, probably ever. The album was finished off during lockdown which unfortunately affected the final quality but it was either that or not finishing the album. Not really doom, just drop C fuzz rock. Currently on hiatus due to house moves, job changes/promotions and new babies, might be back playing later in the year. Older band did a small EP that was more in a proggy melodic doom direction, production is rubbish though as it was meant to just be a demo and we split up before we recorded it properly. Has a bass solo on it somewhere. Frankly wish we had recorded it properly. https://khydra.bandcamp.com/album/skycrasher Trying to record with my other band this year, but need to buy a better laptop so we can record. Will post something in this thread if and when we manage to record something. Edit: apologies that the pictures are massive. I'm not sure how to make them smaller!
  7. Pretty sure manufacturers use Brazilian rosewood and buckeye and markedly different price points to Fodera, including manufacturers in the New York area so I don’t believe that this a determining factor. I have no doubts that Fodera do not make a massive profit relative to the price. Length of the builds, relatively low output of instruments, the need to pay luthiers a good wage on account of the skill required, cost of running a business, admin costs, marketing costs, local taxes. They all add up, though of course most boutique manufacturers have similar issues. Though essentially if you need to have a Fodera (or a Wal or a Ritter) then there is an inherent cost involved.
  8. I have similar thoughts. When I was 15 I just assumed that the more extravagant basses were constructed out of really expensive wood!
  9. To me it looks like a concept piece that requires a lot of hours to make and that results in a high price. Perhaps the asking price is a means of Fodera essentially saying 'yes, we can make this bass, but it is very difficult and complicated and we are only going to do it if it is really worth our while'. The price point is probably set on the understanding that Fodera don't expect (or particularly want) to receive thousands of orders. I am pretty sure you spec a Warwick, Wal or a Ritter and come to the same price eventually if you add enough options. I put Fodera in the same category as those type of custom orders in that these are not instruments designed for sale to the general public but are instruments to be acquired by a very small clientele who frankly have money to burn, for whom a ridiculously expensive bass is no different to a ridiculously expensive concept car, luxury watch etc. As a result, this type of pricing does not really irritate me whatsoever. Frankly, it irritates me more when I see Warwick made Sadowsky Masterbuilt basses being sold at a higher pricepoint than Sadowsky basses made by Roger Sadowsky and even that doesn't really irk me, particularly given Warwick are entirely within their rights to set whatever price point they like under the licensing agreement and Warwick masterbuilt basses don't come cheap.
  10. I also like to use the search function on Basschat to find specific threads I am not interested in just so I can leave a comment detailing that I am not a fan of the subject matter. For example: 'I am not overly familiar with Joe Dart and thus I have no interest in this thread discussing the new Joe Dart latest signature model bass.' 'I have no interest in country music and never listen to it. However I nevertheless feel that I have the authority to say that it all sounds the same and that all of the country subgenres and descriptions like Classic Country/Alternative Country/Rockabilly/Western Swing/Outlaw Country/Country Rock/Bluegrass etc' are just different names for a largely uniform type of music which all sounds a bit generic and uninteresting to my infinitely more sophisticated musical palette.' 'I hate bass overdrive, so I have no interest in this thread discussing bass overdrive pedals.' 'I use a Helix with a FRFR speaker and just wanted to post that this is a superior set up and that you are all a little bit silly to make a thread discussing valve bass amplifiers'.
  11. D'addario do a balanced tension set of 120 - 90 - 67 -50. I use that generally for D standard and drop C. The tension of a 120 tuned to D is not dissimilar to having a 110 string tuned to E. GHS do a Heavy Boomers set of 50-115 which I rate. There is also a DR DDT set of 55-115 but I find the higher strings to have too much tension at D standard for my personal taste. A normal heavy gauge of 50-110 with your favourite brand of strings should be fine though. If you are changing from a lighter gauge of strings tuned to standard then you might need to give your bass a set up for the new tuning.
  12. I don't own any class D amps, however my nephew has a TC Electronic BQ500 which is about as budget as a budget class D head gets. I think it sounds pretty impressive for the price and practicality standpoint. If you are using a pre EQ DI or using an additional preamp for your core tone, then it is a perfectly useable gigging amplifier given that nobody is going to hear the amp anyway. Would I trade my bigger amps for it? No way, but I would be totally happy if I was given one as supplied backline. Though I love amps as a point of personal interest (design choices, features, how they are put together etc), however I am not picky when it comes to a gig. If a gig required me to go the IEM route I would do that without hesitation. However my main interest has always been heavy rock, particularly in the blues, stoner and doom sub-genres in which amps (particularly vintage amps) are generally part of the culture and 'fun' of being in a band and doing live shows, so going IEM in that route is unlikely for me, even if it makes complete logical sense.
  13. You really must try out as many as you can. Last summer I tried the following - Tech 21 VT Bass DI - Darkglass B7K Ultra - Tech 21 Bass Driver DI v2 - Markbass Something or other (it had a valve in it). In short, the Bass Driver DI v2 won out. From owning V1 for over a decade I consider the V2 to be much more flexible because of the mids feature. It is also 'idiot proof' in terms of operation and great for gigging or recording when you need a decent bass sound quickly and without any fuss which is something I really appreciate. I have never tried the Para Driver but I'm guessing I would like it too! However, no on board compression, no headphone out, no additional footswitchable drive however I didn't need that as I already have other drives and compressions that I can used along with the Bass Driver. It is a bit above your initial budget, but something like a second hand Helix Stomp must surely be worth a consideration given it has a number of amp sims and effects on board? I was tempted to go this route, but I decided that I really need a 'plug in and play' preamp pedal.
  14. I thoroughly recommend the D'addario balanced tension set of 50-67-90-120 if you are interested in downtuning to D standard. I generally use it for tuning for D standard and drop C. That 120 is a beast but it really works well at maintaining definition. In the past I have found 'heavy gauge' sets of 50-110 to be underwhelming when downtuning to D standard. However I do like a 50 -110 set I want to play rock stuff with a high action to avoid any 'fret clatter'. For standard tuning I prefer 100-80-60-40 gauges generally as I find a 45 and 65 gauge or G and D strings a bit stiff for slapping and popping.
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