scalpy

That's gorgeous- want it.

We had a drummer less rehearsal the other night, everyone in the living room with Apple Loops being run through a small monitor. The guitarist was complaining he couldn't hear the drums but there was no way of giving the loops any more juice, so we had a bit of a chat about playing technique and actually listening not just hearing with everybody (2 vocalists- 2 saxes- keys, bass and guitar) et voila, loops spring out nice and clear. We had a full rehearsal and applied the same principle, the volume was easily manageable, my rig was set to 9 o clock and this is with the drummer using a fully cranked Ludwig snare. In my rock band the drummer and guitarist are a sound engineers nightmare, psychopath and 120W half stack respectively but they play well and I just don't need volume to keep up. That's using a 140W head at 8 ohms into an old Hartke 410. My point is that threads about how much power keep coming up and it normally ends with 3 general schools of thought, "I manage with a tin can and a piece of string" or "There ain't no substitute for cubes" or the scientists quoting the barefaced website. I can't recall many people saying play tidily, with rhythmic precision and musicality and it's amazing how much you can hear all of sudden. The best thing about this is you don't need a van full of boutique gear or the technique of Wooten, you just need to listen! I shall sheepishly climb down from my soap-box now...

Will you lot keep quiet about how good G&Ls are, we're meant to keep it to ourselves and just sound better than anyone else!

Hello to another Herefordian!

First it was into a car boot bought plastic record player via my dad's ultra complicated system of crocodile clips. BC Rich 30 Watt combo Laney Linebacker 100 watt head and a HH 215 (Norfolk and Good) Hartke 1400 into a Hartke 410XL Currently the LM Tube and the aggies. Sounds great and is perfect for what I do now but 410s are more fun. Pretty minimal for 24 years of playing!

We have fun thinking of different genres and then doing the desired song in that way. So Crazy by Gnarls Barkely starts with a Tango and Poker Face has a purdie shuffle. Some we do straight as it were as going nuts all night long turns punters off. However, it can take a bit of time getting all 8 of us up to speed so wood shedding is the only way forward. As the keys and saxes are reading that's not to bad and we also do sectionals, just the vocals and me, or just the drums, guitar and me.

We train ours with raw meat.

[quote name='discreet' timestamp='1326712770' post='1500726'] Now I'm in a 9-piece soul band, I've got to say Donald 'Duck' Dunn. [url="http://www.duckdunn.com/"]http://www.duckdunn.com/[/url] Check him out on the Stax/Volt Tour of Norway, 1967: WARNING: Norwegian Hippy content! [media]http://www.youtube.com/watch?v=M_mKy-a6d1I[/media] [/quote] Always the Duck. This gig is great as well although he later complained the Marshall backline couldn't handle his aggressive picking technique and he was always breaking it. Along the same lines, I got Standing in the Shadows of Motown for Christmas so I'm a major Jamerson binge at the moment.

Knowledge is Power!

Still want the 500...

I put my tweed aggies by the TV any chance I get! There's no utility room, garage or shed in our flat so most of the time they live in the spare room, which was recently redecorated and rearranged. Despite much notification the interior designer (the good lady) failed to comprehend that amplifiers and instruments do take up floor space and cases don't tend to go with the rustic cottage motif/ambience. So when we have guests all my kit ends up at work, or by the TV!

Back when I was trying to get rich and famous it worked like this. Ring Ring- "Hello, you have reached the staff absence line, please leave your name and date after the beep." Me- "It's me, I don't know why but I can't get the hang of defrosting chicken, I guess I'll be better after a day like last time." Couldn't/wouldn't do it now with my current boss...

If I recall correctly, it was recorded by Geoff Emerick as well, a man who knows how to get good sounds to tape. So a large part of the sound will be big diaphragm mic+meters in the red.

Actually done 7 in 6 days- pit gig! Cons- MD way out of his depth, can't conduct 4 (does it back to front, but that's the only one he does that way...) very loud keyboard amp doubling many of the parts, unpredictable cues and tempos. Pros- rest of band top people and cracking players, genuine professionals who have that little bit over the average weekend warrior like me, so great from my point of view to try and cut it, rig turns out to be perfect for this kind of gig again, shaking the floor at low volumes, and one underscore number that was bass solo from start to finish- 32 glorious bars whilst the audience shuffled in their seats!

[quote name='solo4652' timestamp='1322570153' post='1452720'] Just to add further confusion, I have a USA L2000. In the past I've owned 2 Tributes and the USA model sounds darker and richer to me. It may be that settings that work on maple-boarded Tributes don't work so well on a rosewood-boarded USA model. Just a thought. [/quote] The tributes do sound different. A student of mine had one and A/Bing them it was clear that it didn't have the big-ness of the ASAT. The lower quality pots and switches will contribute I suppose as much as the woods. I've re-read this thread and it is confusing, especially my posts (!), but it has struck me you're boosting mids on what is already a rich sound. Perhaps scooping some of those would retain some weight but allow the treble to give you that definition?

Ok I admit it'll do loud no problem, and it bangs right into all the head room available on the markbass head I'm currently using but I've never had a problem getting it to cut through. I use a fairly flat EQ, and nearly always find myself doing that regardless of the amp, although I use a fair bit of the filter shape on the head instead, the amp sounds more comfortable removing mids that way than using heavier EQ. I use full wound strings and play fingerstyle and have used the G&L in a variety of situations, with fire breathing drummers and filthy Marshall stacks, a pub rock dep gig the other week with one guy blazing away on a Boogie, 18 piece soul band, and less challenging, in the pit for Slipper and the Rose next week in Pershore! I'd really recommend leaving it in active at least and having a decent amount of middle dialled in, but I might play differently to you. Enjoy the bass though, not everyone loves them as much as I do as they seem to be an acquired taste, but once you've got it, that's another matter!

[quote name='mcnach' timestamp='1322500653' post='1451639'] "both pickups on" is not exactly a recipe "to cut through" the mix... [/quote] Both pickups on will cut through the mix! However I have found when I use a modern amp, GB, EA and the like, bass cut takes too much away. Best to ramp all three knobs to max, bass boost on, stick it in active and to hell with anybody who gets in your way!

I've go the tube 500, and whilst they really divide opinion I'm on the plus side, although I have been disappointed by the re-sale value. Dialed right across to the solid state pre-amp you'll have something near identical to what you have and mixing in the tube brings in a lot of warmth. However, not everybody agrees so either it's my preference for a tube and a bit of pyscho-acoustics, they aren't consistent or some ears don't notice. I can't imagine having 800 watts on tap, I've run mine through 2 112s, an old Hartke 410 and an Ashdown 810 and it's never got beyond 4 on the volume. It is pretty linear as well the times I've been pratting around and experimented with how far it'll go have resulted in some serious power. Oh, and you won't get any grit from it at all, not that kind of valve.

Ringo is another drummer who plays a right handed kit despite being a left hooker. He says that's why his fills are so idiosyncratic. As to using a pick with my right, I hate it. I've learnt through playing guitar but just don't like it, but I've never attributed it to being a left hander before. I'm a reasonable finger picker and I would have thought that would be more difficult. There may well be a grateful manufacturer or two reading this thinking thank goodness all this lot do it properly or we'd have even more faff!

It would make sense that handedness is genetic as my Dad is a righty and my Mum is truly properly ambidextrous, to the point you can't tell the difference between her two sets of hand writing. I suppose that gives me odds at being one quarter left handed and writing with it and three quarters right handed and being able to play guitars that don't have a minority mark up!

[quote name='chris_b' timestamp='1321724488' post='1442472'] [size=4][color=#222222][font=Arial]Anything with a slap bass line. I don't slap, cos I can't. I can play anything given time but the brain cells that do slap seem to have been missing at birth. [/font][/color][/size] [/quote] and were replaced with good taste... Time to go.

[quote name='Big_Stu' timestamp='1321715726' post='1442337'] Duck Dunn is - Steve Cropper told me - who is also similarly "afflicted". [/quote] That's made my day- he's my all time bass hero. With regards to scissors, left hand, but right handed ones, left handed ones should be for Ned Flanders only.