AttitudeCastle

[quote name='Meddle' timestamp='1455051221' post='2975518'] If I had to build a 'Wife' on a budget then I would probably start with a cheap P bass and fit a hotrail pickup in the neck position. Billy hasn't really used a mudbucker pickup for a while, and his latest Attitude design has a pickup that looks a lot like an old Dimarzio X2NB in the neck position. I wager it is differently spec'd though. The two pickups are designed to run on different circuits, so phasing issues and blending issues would be less of a problem. Billy's basses, and the Attitudes, are wired with two push/pull pots. One pot mimics the original 'baritone' control featured on the Gibson EB2 and EB2D basses (and some Guild basses) that switched in an inductor and RC matrix to either cut all the highs or all the lows from the pickup. The other push/pull simply combines the two pickups so that the outputs become dual monos. There is only one tone control which, from memory, is on the neck pickup circuit. The gist of the bass is to get a gnarly P bass tone (without tone control) and then be able to have a consistent dubby low-bass coming from the other pickup, even when soloing far up the neck. Quite idiosyncratic, and Billy often preaches about the dangers of worrying too much about gear; a tad hypocritical when he uses an idiosyncratic rig and promotes a bass, a pedal, and is a vocal proponent of Hartke amps... The scalloped frets are a great idea. I've done it to a couple of basses and the low-friction bends up the top of the neck are lovely. [/quote] The neck pickup on the ATT III is a Yamaha designed pickup, it was their idea to use it in the neck instead of the DiMarzio, although DiMarzio still make the Model One and the Willpower Neck pickup. Not played an ATT III much but the neck pickup is a bit smoother, and "tighter" it's also not recessed so is a bit firmer sounding. That's a long winded way of me saying it's not A Dimarzio/ X2N design. haha! Yeah the controls are Volume + Tone for neck pickup (Tone is a push/pull with a high cut) and Volume for the P pickup (with a push/pull that combines the pickups to dual mono). The P-pickup doesn't have a tone as you get a bit more output / "push" from the Pup without one, and Billy wasn't using one so removed it on the older ones. Apologies for nerding out hard, it's what I do. And I've been trying to plan an Attitude alike build for a while but never known what the best route to take is... I find anything with less than a 40mm nut very uncomfortable, 42mm is pretty good, but 44mm or so is my normal after playing the Yam for years!

[quote name='wishface' timestamp='1455054814' post='2975570'] But isn't Billy's bass scalloped on the black frets? Whats the point of that? [/quote] Google is your friend! Plenty of information out there The bass is only scalloped on the top 5 frets only the D and G strings, it's not scalloped on all of the black frets, the scallops are to allow more freedom when bending. I've owned an Attitude LTD II 25th anniversary since they came out, love it! Looking to make a cheap-y replica from a P-bass or similar, but finding something with a similar neck is proving difficult. Happy to try and answer any other questions you have on the basses.

[quote name='Bigwan' timestamp='1453467838' post='2959748'] Can't help but think that the phase switch is a waste of panel space. Surely an internal switch could have been used for that and added a further feature to the front panel. Don't want to harp on about it, but a switchable high pass filter for the drive channel perhaps?! The ability to keep the clean channel and compression active and defeat the drive channel would have been useful too... Both would have reflected how Billy Sheehan actually uses his original signature drive pedal... [/quote] He also used two, with external comps too. Cool that this has an easily switch-able drive chip though for experimenting! Billy leaked these to us on Facebook after someone spotted something about it. Will be interested to hear it. Definitely agree with the above inclusions, or lack thereof...

See if this had a drive channel too/blend, I'd be ordering one this second...

[quote name='chrismuzz' timestamp='1453040548' post='2955821'] I occasionally hear a bass player with a sound I really love. It tends to be those who use an active bass with a pick, which is the opposite to what I use. But when it comes to actually playing, I am never satisfied unless I get that messy upper midrange sound [/quote] Likewise! I always feel like my playing sucks, though people keep asking me to play on things, and they seem to like it so who knows. I often feel that way, that what I hear others doing is more tasteful/better tone etc, but I think it's mostly just me thinking too much when I play!

Used a few JC amps, cracking value for money!

I used to wedge blu-tac into the groove, and tape the sliders down. Before that I made a grate and lay it over the sliders, so like a sheet thick card dropped vertically over them, with the holes in place for where the slider positions were (depending on pedal may need to take tips off sliders though). Made a few so if they were ever knocked I could find them again, haha! Always meant to make one out of thin metal, but basically never got around to trying it. Hope some of that helps! Replacing them would be the most un-kickable though!

YES! As why not?! Lovely thing to do

[quote name='dannybuoy' timestamp='1451939899' post='2944880'] Doug did let on though that they'd analysed the original studio recording projects (made before Darkglass were even around) that were done with a combination of amps and plugins in order to replicate that sound using one pedal: [media]http://youtu.be/Cjvtx3HMUks[/media] [/quote] Jon uses a Tech 21 Bass XXL for this live, and with his ashdown roaring gets pretty close! Speaking of which I've been trying to find a Bass XXL for ages so if anyone has one for sale... hah!

The Audio Technica AT2020 is a great cheaper Condenser that punches well above it's price!

Big sound when playing live? It's (IME/IMO) all in slotting together, musically, and tonally. (I think anyone who's seen Muse knows that haha!) Some grit on the bass really brings out the harmonic content of the notes adding more life, and weight around the guitar/cymbal blend area really pulling things together. A nice fat low end, and then making sure you have the appropriately sculpted midrange to fit in. All of the above is why in my experience, (having playing in projects down to Drop E (the E below the standard E on a 4 string)) the further down you tune the harder it is without using precision EQ/engineering, and why mixing music tuned really low is so much more annoying/difficult for studio engineers as everything is fighting in one area, leaving pockets empty in others) Beyond that, having complimentary parts, being concious of the kick drum, that kind of stuff. A bit garbled, but hope some of that is useful!

[quote name='Machines' timestamp='1450772659' post='2935603'] I ventured into jazz recently when an offer came up to be in a jazz band. It was doing old standard type stuff that I can't remember the name of. All I know is I thought I'd prepared myself well by learning chord tones and the key of the song with the progressions. I crashed and burned and now I never want to play it again. For me, it was too much thought - i couldn't just play without processing what I was doing next and after that and that too. I know comfort would come from experience in that aspect, but the 10 years I have of playing mostly funk/rock etc was of little use to me. [/quote] Pretty much exactly the same thing happened to me, and it all in all wasn't a pleasant experience. Since though I have/re-connected with some just incredible jazz players, and actually just flat "jamming" with them has a been an incredible learning experience. Especially when a guy who knows what he's doing when it comes to the Bass in jazz is there too to ask and observe as it goes on. Definitely something I wish I could know more about though.

[quote name='danbowskill' timestamp='1450470973' post='2933236'] He seems to be playing light fingers in the vid,so think there's more gain in it maybe?he does do more gain type peds . Find out soon ,as its been posted and inbound :-) [/quote] Yeah it's hard to balance what's what, it sounds great either way! Plus my basses are pretty hot, and I play hard. I really like the Caravan, and the Mustang, just not sure how Bass friendly they, are but I have the trusty LS-2 so... Think one of these will find its way to me in the near future

[quote name='ryancowell25' timestamp='1450445422' post='2932912'] I've done a very quick demo with it.... if anyones interested PM me you e-mail address and i'll send it over [/quote] Ah cool! How much thunder does it have? The clip on the Tritonlabs site sounds great, but already has the gain quite high, I feel like I'd have the gains on full all the time based on them, but very tempted by one of these!

[quote name='wateroftyne' timestamp='1449773181' post='2926742'] Maruszczyk do something similar for about £650... [/quote] Oh my! These would be right what I'm looking for if they weren't on the skinner side at the nut, would really have to play one.I I'm currently looking for a P to hot rod or a P style bass as my new main bass in a new project, but I'm yet to find something suitable anywhere with a nut bigger than 40mm. I'm used to 44mm. Anything less than 40mm feels a little uncomfortable to me, which is why I don't get on with Jazz basses. Alas, my search continues! I absolutely love the Yamaha BB basses, but the neck I don't gel too well with, though may resort to just bucking up on that one! Edit: Could some one divulge a little further into their ordering experiences in terms of what options are available? I've seen wateroftyne's thread on his NBD - Maruszczyk Jake PJ and it has me curious. The bodyshape looks a little funny to me on the lower horn to me, but if the rest fits, I can more than live with that! Double Edit: The body shape is already growing on

Howdy! My Dad just moved back to the UK after living in NOLA for 9 years. Been all over LA, love it!

[quote name='barkin' timestamp='1447879365' post='2911240'] I found the controls a bit confusing at first. Cut the mid, and the volume drops significantly I find, and some find them a bit mid-shy, but cutting the bass & treble and cranking the volume (which it certainly isn't lacking) works for me. And once I got the hang of it, it's dead simple. Talking of volume, get it past about 6 (1-2 o'clock) and it's like the afterburner's been switched on Love mine... [/quote] It's a classic Fender tone stack so all passive, and naturally very scooped. Something like bass/treble on 2, and mids on full is 'flat'. Great straight up big warm bassy amps!

I also recently tried out the Digitech Polara, and was stunned for the Plate/Halo/Mod/Hall regular type reverb sounds. The Spring is pretty OTT though, but usable!

I'm likely missunderstanding, but it sounds like any fully midi controllable/programmable by-pass looper should work for you?

Not sure how cheap cheapish comes in at, but the Warm Audio one is pretty killer!

Howdy! Nice pic, that the BTB7 in Guitar Guitar, Glasgow by any chance? Welcome!

[quote name='Paulhauser' timestamp='1445788847' post='2894178'] For your information, the GWB35 is an ACTIVE bass with a bass/treble boost/cut. In the video below I play a GWB35 in an exreme metal setting. While neither the song nor my playing is particularly good, it does take a bass just like what you want to get out from under the walls of guitars. I have nothing to sell, but I think that the GWB is a great moderns sounding fretless. [url="https://youtu.be/iNSluhDEN2I"]https://youtu.be/iNSluhDEN2I[/url] [/quote] Total tangent, but this your playing/band? As I thought this was pretty cool with some really nice bits on the bass! I really love the Gary Willis basses, really bums me out, that I just don't get on with 5 strings.

It's run by Mark Michell, extremely talented bassist for Scale The Summit. Mark is also a good friend of mine, whom I known for years, from before STS, and from his last band, Tetrafusion. He works very hard on the site, and puts up great content. He really is a great guy. You can find some of the lessons, or parts of them on his youtube channel, if you're interested in what they're like! I've oddly felt less like signing up, since I know Mark, but I really should, as I could do with a kick up the arse to my playing. Think I'll be signing up soon myself!

A noise gate works by clamping down, and completely cutting out the sound once the signal falls below a certain amount. Look up some noise gates in action, it may give a better point of comparison for whether it's doing what it should be. I'm not sure as I'd have to mess with it in person, but having no sound at all when set to 0, then having to play hard just to get a sound when set high sounds a bit odd, so perhaps the gate is not operating properly.

[quote name='adamg67' timestamp='1440596055' post='2852243'] After a lot more playing, I decided not to keep the BB, it's got loads of low end but it's a bit "fizzy" for me. Glad I tried it though. I did buy a Blower Box though and I love it, I may not even use it in the current band but I'm keeping it even if it's just for my own stuff @ home. It's not really part of the overdrive hunt though, it's a bit of a tangent and another different sound. Nice and rough and bassy when it's set up right. Still loving the Hooker's Green and the Barbershop for low gain stuff, they're staying. Both nice and different to each other. I've also got hold of an Aguilar AGRO to try, that's kind of nice but it seems to go quite suddenly from nearly clean to distorted, the saturation knob seems very sensitive for my setup. I'll try that with the band for a bit and see how it fits in. The Vintage Microtubes has gone, swapped for a DOD Boneshaker on a whim as the EQ looked good - I was distinctly unimpressed by that though, I thought the distortion was a bit lame. Never mind. [/quote] What's the Blowers midrange like? Every time I hear one I can't decide if it sounds scooped or not! Either way, VERY cool sounding pedal!