thodrik

[quote name='Gust0o' timestamp='1358641315' post='1942835'] I think that a few are guilty of that sin, mind. [/quote] Looking at my collection of pedals, probably most of them!

Didn't Trace Elliot go through a period of using Fane speakers as well? On the topic, different cabs will have different dimensions, tunings, types of wood, quality of construction and finishing materials like screws, vinyl etc. The speaker is only one component in the sound of the cab, albeit an important part. I'm not an expert in cab construction but that would be my general viewpoint anyway. Trace Elliot amps and cabs are also easy to find and trade on the second hand market for several reasons: 1. There are loads of them about from the 80s and 90s when Trace Elliot had a strong market presence. 2. They tend to be heavy and not desirable for those looking for a lighter rig. 3. They are not actually very cool at the moment. 4. They tend to be cheap because of reasons 1, 2 and 3 5. They are generally good quality products and thus a good option for someone who wants to put together a half-decent rig for a few hundred quid.

[url="http://www.daddario.com/balanced_tension.page"]http://www.daddario....ed_tension.page[/url] It seems that with all their string tension guides that this product line was inevitable. The 50-120 set should be pretty good for those wanting to tune down to D standard or Drop C if nothing else. Hopefully they aren't priced at a silly level.

He isn't a great player technically, but he is very distinctive. I would maybe be interested in hearing why he approaches bass in the manner he does. In many ways that is more interesting than attending a 'look at this guy slap, pop, tap and generally play lots of notes. 'Masterclass' though? I doubt it, but that was just a word given to the event, rather than a true indication of its quality. Rather like going to a sporting contest described as 'professional football' in Scotland.

[quote name='chrismuzz' timestamp='1358456347' post='1939681'] £150 for a basic distortion pedal with a tone knob and a bright switch, and no blend? Come on! [/quote] I must admit, that was just about my first thought and I like Zvex products.

It looks like it is the drop D equivalent of playing in C standard. Plenty of bands have use it without sounding like a complete inaudible mess (though that is open to subjective interpretation). I'm pretty sure that the Red Album by Baroness is in that kind of tuning. Kylesa play or played a lot of stuff in Drop A, as do Mastodon (though its basically D standard with a low A instead of a D). In terms of set up, I'd imagine that for drop C you are using fairly hefty strings (115/120 on the low C) anyway, which would probably 'do' for trying a few songs in drop B flat in order to tell if the singer can sing at all. If the singer works out, then permanently change your set up. Or just transpose a couple of your songs into different keys in the drop C sharp tuning, in order to work out if the singer can sing at all. Or get some light strings and tune up to F standard, so you can play an open A string as the root B flat that I would imagine the guitarist will probably play off a lot of the time. There is nothing inherently wrong with low tunings, though they also don't necessarily make the music any 'heavier' just by being lower. Don't assume that you always have to copy the guitar tuning. Think about how you personally want to approach the music and proceed accordingly. If the other band members aren't giving you that freedom, consider whether it is the right band for you.

You would think that with the proliferation of 'cranked SVT' emulation pedals, Ampeg would have at least investigated building their own pedal in order to release it and try and reclaim that sound.

There is one on my Vigier Arpege. It works though I'm one the people who puts that much stock in bridge styles, so long as they work.

I think that they look nice. Play 3 or 4 and you might find the bass of your dreams.

[quote name='brensabre79' timestamp='1358249599' post='1935405'] I spoke to Marshall before Xmas as I was looking to try out and buy an Eden WT800. Basically they will not send stuff out to dealers on Sale or Return at the moment. They say that dealers are very reluctant to buy in stock knowing that they will be stuck with it (Eden stuff doesn't exactly fly off the shelves), also, most dealers suspect that aspart of the buy out they will be developing new products and releasing them soon. So the catch is, no dealers will buy in stock, so there's nowhere I can go nearby to try one out. I'm not about to buy an amp I have not tried! I said to Marshall/Eden rep that they should really consider sending some out SOR to get the name known again, but unfortunately they don't seem to keen to do that. I guess as Marshall is a household name they have never needed to do this. Personally I was put off by the fact that there seemed to be a large amount of indifference, from the music shop, from Marshall, and even from Eden US, who basically sent me back to Marshall. [/quote] That is hardly encouraging. I always thought that Eden had a 'distinctive' sound, much like Trace Elliot did/does. Part of me thinks that heavy MOSFET amps with lots of tonal shaping options are completely out of fashion in the current 'I set everything flat' lightweight amp craze.

[quote name='bigsmokebass' timestamp='1358123156' post='1933647'] Have you tried them? I know when i did last year they felt hell'a small anyway, i dare to think what a 5'er would feel like :-/ On the other hand, about time for Fender to make a "Highway 1" 5 string?? maybe a chance to market a budget 5 string Precision too? BSB [/quote] I had a quick go an older Highway 1 Jazz. Seemed like a nice enough bass. I like the look of these models but haven't tried one yet. If I was shopping for another bass I would definitely consider one, alongside the Blacktop P bass which just looks fun. A Highway 1 five string would be a great idea. Quality 'American' Fender five string for a decent price.

[quote name='chris_b' timestamp='1358186166' post='1934517'] They said that David Nordschow is doing some work for Eden. That's got to be good news. [/quote] Interesting. I thought he was gone for good. I'm hoping Eden do make a 'comeback' rather than plunging into non-relevance. Even SWR has a more visible status at this point.

I just saw in other thread someone in another thread say something along the lines of 'a lot of US players use Eden' and it got me thinking. I barely ever see an Eden at a gig, rehearsal studio, or in a shop, maybe 2 in the last 8 years. Were Eden amps ever popular on these shores? Also, what is the current situation with Eden? I know that they were bought out by Marshall but since then I have heard nothing in terms of new products or any developments whatsoever. I also know that key figures like David 'Eden' Nordschow and Lane Baldwin have moved on to do DNA amps a while back, but I really haven't heard much from DNA either. Basically is Eden restructuring or are they just one step from disappearing altogether? Thanks in advance for any input.

I went ampless for a few gigs. You are always depending on the venue having a decent PA, decent monitoring system or in-ears and decent soundperson who isn't afraid to put bass through a monitor and pa, which is not always a guarantee. Ultimately I liked the safeguard or a load, portable combo. If I was in a function band carting about my own pa and monitors, I'd consider going ampless though.

[quote name='hamfist' timestamp='1357583953' post='1924904'] Absolute codswallop sir ! Non-one has enough drive pedals. [/quote] I know, I just tell myself that so I don't empty my wallet!

I am sure its a quality product. EBS make good kit and Sheehan would only put his name on something that he really believes in, his basses being a prime example. I have enough overdrives already, including two from EBS, I don't think I need another!

Finding the 'right' Fender can be a tricky process. I do think that a lot of the 'dogs' we find shops are due to a poor setup which can be pretty much fixed rather than serious problems with the actual instrument. However a really high action can also be a lazy way of hiding somewhat uneven/untidy fret work, leading to buzzing when it is lowered. If I am going to be paying £1000 on a bass I would want it to play well right away.

umm, alternate which half you plug the amp into each time you use it? Then you are using the whole of your amp, albeit at different times.

[quote name='Jellyfish' timestamp='1357384756' post='1921854'] I did grade 1 about 3 years ago now and it was extremely easy. I felt that I'd effectively learnt how to tackle the sight-reading part just by practicing new pieces on a regular basis. As far as I remember, it was about 8 bars and it two bars looked similar but one note varied in pitch which I guess was their way of trying to catching you out. Bass, tenor, and treble clefs though? Even for grade 8, that just sounds cruel. [/quote] Doing grade 5 theory before undertaking grade 8 is a good idea just to be familiar with the different clefs. In orchestras though double bassists have to be prepared for playing with different clefs, as after going beyond the first G beyond middle C, trying to write notation in the bass clef gets a bit messy and difficult to read in the bass clef. From playing the violin at a younger age I didn't really struggle with the treble clef. The tenor clef seemed a bit excessive though!

[quote name='thisnameistaken' timestamp='1357347259' post='1921577'] BALLS OF STEEEEEEEL. Seriously though, kudos. [/quote] Thanks, although that was a long time ago now though!

[quote name='oggiesnr' timestamp='1357337605' post='1921454'] Grade 8 is scary as it includes reading bass, tenor and treble clefs. Steve [/quote] I forgot about that on the double bass. That was horrid. The worst is the switching from one clef to the other in a short period of time.

I did grade 8 on the double bass when I was 17. Essentially it was the case of 'read for 30 seconds, then grip it and rip it' in terms of playing the notes. When playing though, make sure you pay attention to the tempo listed and any notation regarding dynamics, as this is good way to pick up a few marks in the event that you make a complete mess of the actual notes, which I believe is pretty common in such exams. I always thought that the sight reading pieces were about a grade or two behind the prepared pieces. As with everything, practice makes competent (usually, at least on a good day).

For the first meeting in every meeting/jam/recording project, I always bring my Fender Precision, just in case I encounter such ignorance/snobbery. Once I have the gig I'll bring what I like. People listen with their eyes in terms of music in general, its not surprising that it happens with basses. I've had the same with amps. I've had negative comments from bass players at a few gigs after bringing a Trace Elliot amp to a gig on the basis that 'they are only good for slap and they are rubbish for rock music'. I don't mind people not liking certain amps but it takes a particular level of idiocy to make fun of the amp belonging to the one bassist who actually brought an amp to a gig and then ask if you can use it.

[quote name='BigRedX' timestamp='1348054944' post='1808528'] IME music reps (and I know several) tend to be big on the BS. I be tempted to discount pretty much anything they say that doesn't relate directly to the products they are currently trying to hawk and everything else with a hefty dose of scepticism... [/quote] Pretty much. I also have a similar attitude to some people who work in guitar shops, or in fact any shop whatsoever!

My only 'in' in terms of music gear is a Peavey 6505+ 1x12 guitar combo. No 'outs' whatsoever.