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Muzz
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Everything posted by Muzz
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I'm currently using a M-pulse 360 ( I'd love a Walkabout) and it's definitely underrated in terms of numbers : I had a LMIII for a while, and they both have plenty of power. The cab is an important part of the equation, though, my Schroeder is a very sensitive cab and sounds very loud with every amp I've used. I'd ask Alex his opinion, I'm sure he'll be very helpful.
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Having said that, the massive hikes in Warwick prices haven't exactly pulled up secondhand prices - they're as low as (if not lower than) they've always been. -
Blimey! Page six already? Buuuuump... -
I got to use a Super Twelve T recently at a rehearsal, and it was very, very good. Very light, and a nice tallish shape so you can hear it pretty well even if you're standing close to it. It sounds even better elsewhere. Loud enough and deep enough for just about anything I can think of, and I use ACS ER15s, we rehearse that loud. The finish (handles, etc) is the only thing that doesn't feel like a £750 cab, but the built-in wheels are a great idea. Having re-read the OP, I'd say that for more punch, definitely consider a Schroeder - the low-mid hump of these really sounds punchy and present in a band situation, mine's great for the two-guitar rock band I play in.
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Yep, Spike's on the money there, too - IIRC Martin Rushent compressed the sound very heavily in the studio.
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[quote name='Clarky' timestamp='1343772479' post='1755161'] Um Bongo [/quote] Thanks Clarky, I've got a keyboard to clean now...coffee with sugar, too...
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Horrendous bodge*. * Coincidentally, Uruguayan goalkeeper in their 1930 World Cup-winning squad...
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Thanks Mark, glad you're happy: not to worry mate, something'll come up - at least I've proved to myself it really wasn't for me after all.
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Blimey! Bottom of Page 3 in a day....bump!
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Ooof! I don't normally like rosewood on Rays, but that really works with the blue.
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I've got a set of Roto Nickels on my Fenderbird, and they're OK, but I'll probably try DRs or Newtones when I change them soon. One annoyance was the silk winding, which interfered with the saddle on my Supertone. I never understand why string manufacturers put silks on the bottom end of the string - it's just a problem waiting to happen.
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Yep, it's gorgeous. Just not for me, unfortunately.
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Quick bump for the weekend.
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I used a Sansamp in front of my LMIII to warm it up, and, like Lozz, ended up leaving the LM EQ pretty much alone and working with the pedal.
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Aaaand a bump back up again!
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OK, so this lovely Overwater was mine a couple of years ago, and in the intervening period became pretty much the only bass I'd regretted selling, then recently it popped up in a trade, and I couldn't resist. All very coincidental, written in the stars, etc, etc. Unfortunately, what I've learnt from this exercise is sometimes you can't go back, and that nostalgia ain't what it used to be. It's still a really, really nice bass, terrific woods, plays a dream and has lots of sounds from the 3-band active EQ. Sadly, it suits me like a fish suits a motorbike, and now I remember why I moved it on in the first place: it's waaaay too nice to have sitting around in its case unused. In the great traditions of relationship breakup, it isn't you, it's me: I am an uncouth passive-EQ, split-coil oik and this bass is just too sophisticated for me. IIRC correctly (and I'll check later) it's a 2007, mahogany body with a really nice burr poplar top, with a 2mm black maple laminate between the two. Three piece maple neck (matching headstock veneer), rosewood board, Hipshot bridge, Overwater pups and 3-band active EQ with pull bright, locking jack. Weighs 8lb 12 or so (according to my scales), very slim gloss finish neck. Comes with a Hiscox hard case, and has been restrung yesterday with D'Addario Nickels. On the OW website, this sort of thing would set you back £2280. In these straightened times, I think a trade would be more use than an outright sale, so let's see what anyone might have for this one. I'd put it at £1000 for trade value, but I'm not looking for Fenders, super-Jazzes or anything with more than 4 strings, and maple boards are far more me than rosewood. Possibly trade for a Walkabout head or a Barefaced S12 cab, as I have all-new GAS to deal with... Anyhoo, all PMs answered, more pics available, etc, etc. Cheers.
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[quote name='LiamPodmore' timestamp='1342973694' post='1743304'] Ampeg's 32x10 beast, actually works too, as does the giant SVT on top. Liam [/quote] That's just a normal Ampeg rig with 2 midgets in front of it, the rest is done with camera angles like Lord Of The Rings. That pot plant's only 3ft tall...
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It sounded great until they played it as a song, then it didn't sound like a bass, it sounded like someone playing very good bass sounds. As has been said before, you don't play a keyboard like you play a bass. No doubt it'll be another useful addition to the studio's armoury, and will get used a lot behind the scenes. The first time I came across this phenomenon was back in the 80s, when a synth (DX7? I forget) came out with a really, really good sax sound. That sounded great for twiddling, but again, the actual playing dynamics were completely different from sax to keyboard. Not threatened at all, they'll never make one that sounds like me. For all the wrong reasons.
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Rig from a varied 3-set wedding gig last Saturday - Boogie M-Pulse, Schroeder 1515L, ME-50B, Dingwall ABZ, Fenderbird, Michael Kelly acoustic bass. Very nice, covers everything from Johnny Cash to Gotye to Guns N Roses to Celo Green to Peter Gabriel. [attachment=113954:DSC_0334.jpg]
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Fowl.
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[quote name='D.I. Joe' timestamp='1342941072' post='1742877'] ...the piercing clacky, almost noisy treble that sounds separated from the low end... [/quote] That's it for me, that separation. Quite liked my Ray, but I found it didn't sit well with the LMIII I was using at the time, so I sold it and went back to P-bass and P-bass-soundalikes. Used the Ray on a couple of tracks on the album, at the suggestion of producer/band on the more aggressive tracks, but it was my least favourite sound; I thought the P/J was much better. The Ray looked great, though.
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Years ago I very nearly bought 4 Peavey 18" cabs, which were in a local shop and had been the bottom end of a reggae PA. They were going really cheap, like £75 apiece, but they were roughly the size, shape and weight of a washing machine, each. Luckily I decided to move one across the shop to try it out. I put my back out and saw sense.
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I use mine with a Schroeder 1515L, which is big speakers in a small box and so has a low-mid bump, but I can EQ a ton of bass into it, and get a ton out. No problems here, it sounds ace live, too.
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I've got a pair of the ER20s, and they were good to start with, but I've moved up (too late for tinnitus, mind, tho I'm blaming 30 years of motorcycling without earplugs, too) to ACS15s, and they're really, really good. You have to have them in for a few minutes to get over the slight sense of dislocation, but it's only an adjustment for your head to make: I usually put mine in as we're setting up, that way by the time we start playing I've pretty much forgotten I've got them in. They're good for going to loud pub gigs, too - went to see a friend's very loud rock covers band the other week, and I was able to spot what was wrong with the bass (way too shy in the low mids) when my mate, tho he could tell something was up, couldn't tell what exactly because of the wall of noise from the cymbals and geetars masking everything. Best £148 I've spent.
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Fender Ashtray and Neck pickup covers on a jazz bass
Muzz replied to dakanoosh's topic in General Discussion
Had them on my 78 Jazz: they looked great, but were in the way all the time, they just didn't suit my playing. Having said that, neither did the Jazz, much, so I sold it. Don't like the look of them on a P, so I've never fitted them.
