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Gaolee said:

That's what I understand now. I only found out that generation Jones existed about two years ago. So, I get reclassified again. It's like being a species of exotic marine life that gets classified as some kind of mollusk, then a sea slug, then something else. I doubt it matters to the marine animal, and it amuses me a lot but doesn't matter much.

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5StringBlues said:

I just figured out the Jones thing a couple months ago mice elf.

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I encountered that phrase/sub-categorization a couple of years ago, and it resonated with me. For decades, being a part of that younger group, I often actually felt a bit estranged culturally from those older even though we were all classified as “boomers”. Case in point: while, as a grade school kid I certainly listened to Top 40 rock/pop(starting exactly 60 years ago, in 1966), and then transitioned into “underground” music after the Monterey Festival announced a new era, I couldn’t participate socially or in lifestyle, like those up to a decade or so older did. I was a consumer of Woodstock as a product(film, records, bubblegum cards*), but the event wasn’t my party.
But CBGB’s and the 100 Club was. Even before that, there was a divide…the smug, too cool for school writers of Rolling Stone, as directed by Jann Wenner(who thought he was the absolute tastemaker of the generation), absolutely despised Led Zeppelin, for being crass, shrill, and inauthentic, compared to the stars of 1967, and all the earnest folkie/blues types before that. Well, they were, in a way, but so what? My age group ate it up.
That’s just one facet of the micro-generation gap; there’s quite a bit of what I grew up with/experienced that those just a few years younger than me, still technically boomers, can’t relate to or are dismissive of.


*oh, I kid, but I was wanting to point out that, for such a ‘countercultural’ event, it still got commercialized, franchised, and exploited.

If you play violin I think you never have to go back. So much flame maple in that space.

I love the look of flame maple but it is less stable or less strong as the grain structure is weakened some by the pattern. And it costs more so being the cheap person I am, I've never paid the $$$ to go flame. I have had several birdseye maple necks though and loved them.

Anything that makes a bass "prettier " is ok with me.
Unless it includes a serious up charge.

Whousedtoplay said:

Six (6) pages of comments but still not solid statement what it is "overplaying on the bass."

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Eureka! This is exactly the reason it is so hard not to overplay!

Technical chops generally exceed musicianship and taste, once you've gotten over the fundamentals. Fingers move faster than the brain.

Good Times Bad Times

Led Zeppelin

Thumpin6string said:

Cool car, but I like my Simplicity lawn tractor.
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Cool tractor, but I like my 2012 BMC TMR01

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Clark Westfield said:

You lost me at graphic equalizer.

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Exactly. In fact, I'm surprised they haven't already gone the way of the dinosaur at least for amps.

Sorry, the "graduated tension" should be "scaled tension".

Graphic equalizer warning?

Alik said:

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Hey, you're supposed to do 3 wraps around the post on that guitar! Better let that guy know he did it wrong.

Today I did it. First mesurements with 6550 in the Hexa Valve with 12AT7 as LTPI Valve:



At low level output, overall gain 16,5dBV



At same pot positions the Octals Hi Z


Oberall gain 18,7dBV, only 2,2dBV more, thats not much, I ecpected a greater difference.

Now max power at 10% THD



Only 205W at 10% THD. But we remember, with normal Octals only 160W at 15%.

Thats better due to the higher input impedance of 320k instead of 120k, but not high enough for this poor overloaded LTPI valve.

That means as my conclusion:

The Octals also need a driver valve after the LTPI for max. power in high power valve amps with more than 4 power valves. May be an input impedance of 1M or so would do it better, but may be with more unwanted sideeffects.

I'll test them in my Traynor YBA-200 2, loaded with four KT88 at 585V anode voltage. Power not more than 140W at normal THD. May be there will be their place.

roccobass said:

Safety first!

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Lot more stable than the rickety extension ladders I've seen guys around here using at similar height.

Andrea Lo said:

As many of you have guessed, the LUCE is a transformed based tube DI built around a an ECC88/6922 tube and an OEP/Carnhill audio transformer. It also provides an additional unbalanced output that benefits from the tube circuit, plus an active summing stage that allows two instruments to be connected at once. All in a compact, pedalboard-friendly format (it can also go under many boards).

Here are some specs:

NOISE -122 dBV
INPUT IMPEDANCE 4.7 MOhm
OUTPUT IMPEDANCE 600 Ohm
FREQUENCY RESPONSE ±0.25 dB (20 Hz – 90 KHz)
MAX INPUT LEVEL +12 dBuMAX
OUTPUT LEVEL +12 dBu
THD @ 1 KHZ, +12 dBu 0.17%
POWER REQUIREMENT 400 mA @9VDC neg.

Hope you'll enjoy some info in advance!

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Does the signal path route both the tube and transformer through the 1/4-inch jack, or is the transformer strictly dedicated to the XLR output?

BobKos said:

I never realized there was a market for $30K production Fender basses.

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There apparently isn’t. It's been listed for 3 months with no bites. Typical Reverb.

Nice bass, though, but not $30k nice.

yup, I've been doing that with an MXR bass chorus deluxe barely there but with tone controls set bass-2 (a small boost) trebel-10 o clock (small cut), intensity and width both at 10 o clock, speed is medium, but I'm not hearing a sweep... this is just on my home practice rig, haven't tried it on the complete board where there's a preamp.
My Phaser is in the loop of an EH Superego where it is often on, but it has competition from Oceans 11, Boss sy1, Bananana, catylinbread cdiskman, others

Bassinthemudd said:

Or, my favorite, rotating speaker cab sim.

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Organ player in our college band had the Leslie speaker with his Hammond. sounded great, would have sounded even better if he had played the right notes.

EB probably has the best paint shop in the biz, every color looks phenomenal

I've been doing that with an MXR bass chorus deluxe barely there but with tone controls set bass-2 (a small boost) trebel-10 o clock (small cut), intensity and width both at 10 o clock, speed is medium, but I'm not hearing a sweep... this is just on my home practice rig, haven't tried it on the complete board where there's a preamp.

PBassPlayer91 said:

Looks like a killer setup. Definitely a nice variety. How do you like your compressor? I had one for a bit but didn’t really need it too badly between my SVT and dirt pedals compressing my signal. And apologies, but what’s an RFE?

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I'm not very knowledgeable about compressors, but this one is perfect for my needs (fast playing with a pick, distortion always on). It's super easy to adjust; the tilt EQ helps add a bit of brightness and attack, as well as reduce muddiness. I also use it as a slight boost to push the dirts. Great tool, I won't look back.
The RFE is the Broughton resonant filter (hpf/lpf with a mids control, here it's a clone)

pbass2 said:

Mind you I play for a living so I have to be down with fitting the visual vibe in a way that works for whoever is paying, but I will say, I think it's gotten more narrow-minded out there in recent years

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Are you saying your employers have actually expressed a preference on what instrument you play based on its appearance?!?! Or is this just a hypothetical, or something you’re sensing rather than hearing explicitly stated?

Gotta admit, it’s been >40 years since any bandleader even commented on how my bass looked…but that’s because >40 years ago I was playing a Steinberger.

Melik said:

Andy West also seems to embrace cutting-edge tech in rootsy and lo-fi-ish contexts.

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Andy West plays rootsy music?!?!

murphy said:

Damn, that looks very cool.
You need to darken your fret board and nourish it....something like Montys

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Already got some. You’re reading my mind! Thanks for the suggestion.

I honestly don't care what anyone uses as long as it sounds like a p bass with flats.