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Oklep said:

two bass tracks, one low passed at arround 300hz for low end, and second one with high pass at around 600hz with some distortion. I blend them together, and it gives me gnarly aggressive bass for heavy music.

My question is. How can I make this happen in live environment?

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I can achieve this with EBS Sheehan signature pedal with LPF inserted in the clean loop...

...or with KMA Tyler deluxe...

..or with Broughton FFXL....

2010P said:

Me personally I would stick only a compressor into the lows and use the high out for dirt and modulation, but I would be curious as to how you'd run your setup if you had one.

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Compresor and octaver for lows, dirt, envelope filter and chorus for mids/highs...

GretschWretch said:

Your post above made me Google Dean Stylist, which I find has a 32" scale, a mensure I am finding more and more appealing. You have no idea of the havoc you have just wrought with my long range plans.

Is yours a full hollow or a semi-hollow?

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Sorry for the havoc.

It's a big ol' hollow body. In fact, I had F hole covers made because when used live this thang will howl at the moon at the slightest volume, which my Gretsch never does due to the thinner body.

BassHole1 said:

The guitarist/singer of the band I was trying to get into thinks she plays it with a pick....??? But I found a few videos where she's playing the octave "beep beep" with her R. ring finger extended down? I've never tried that.....

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I've never seen a video where she's playing with a pick; she's playing fingerstyle except for that little bit of pop and slap.

And here I am! Just finished the last exercise. Can't get through the C-section flawlessly but I am happy to close this chapter all the same.

Next book will be Ed's Walking Bass book. I may also go through the Bass Method again, this time with a plectrum instead of fingers. Ideally, I should advance through the exercises more rapidly, but like I said above, there are some concepts which I do not fully grok yet.

So much learning, so little time (actually spent doing just that).

Spidey2112 said:

....

Chris, is the submission the sheet music, or the album cover tease?

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Both

Link to all the transcriptions in my Signature!

Ian774 said:

Anyone familiar with this model?

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I've seen it mentioned, but never one in the flesh, but as I type I think I recall there being an owner here. Looks like a fairly typical stock SR Premium, just with 18mm spacing.

Edit: the SR1605DW @ardgedee mentions was likely the one I was thinking of.

My latest video. It's a bit of an experimental hybrid - reverb pedal review mixed with sci-fi narrative.

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USAJO said:

You can take that further and go ampless. I’m visual. I prefer gear that meets my criteria as well as looks good to me. I think that’s not uncommon.

The crowd can also be visually oriented. That’s why bands put up walls of unloaded cabs.

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Shows that have no rigs on stage are visually less exciting to me, and it seems a fair amount of bands run this way now. I understand some of the reasons for it, but I do appreciate the extra eye candy when there are guitar and bass setups physically present.

What really saddens me is going to a show and seeing that half the bands don't even run a bassist. They track in the bass on a computer

I’ve fitted the Gotoh oversized buttons on both my basses and I prefer them.
Tried Schaller and didn’t like them and rubber washers made strap too tight on button.
The Oversized buttons are simple and work well with leather straps and move better ( not in the sense of coming off accidentally but move on the strap pin as it’s supposed too. So better than rubber washers in my opinion.
They look nicer too I think and I used the original screws that were used for the original strap button.
Gotoh make quality gear, I fit their bridges too on my basses )

Dave Higham said:

I've experienced 'blotchiness' with Z-Poxy and realised that having put on several coats, sanding between each coat, that the final thickness wasn't even. You're supposed to sand back to bare wood, leaving the epoxy in the pores, which I find impossible because it always opens up new pores, So I've sometimes finished up with an uneven coat which has an uneven colour.

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For at least one body, I did that (sanded back to bare wood), and then I started wiping the final epoxy on with a rag balled up and dipped in acetone or denatured alcohol, can't remember which was around at the time. Like a wannabe French polish, but with grain filler. It built up enough after two passes or so, over the entirety of the body. Followed with a Zinsser aerosol washcoat under Minwax aerosol nitro lacquer. It ended up being one of the best finishes I ever did, but that bass was sold to fund some upright stuff. I owned it for about a year. I don't know if it looked different after four or five.

We went to this concert last fall. Great guitarist.

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rmayer said:

Great rig. Love those Bag End Birch Ply Cabinets. My rig in the late 70s/early 80s was two Bag End S18s and a D12 on top. Ran a Bi-Amped setup, sounded great but weighed a ton.

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The cabs are still manageable for me… borderline heavy.. but they sound great.

Anyone here have a Sacramento 5 string 32"? I know Jake has made just a few.

Ive played two vintage Ricks in the last year that have really spoken to me tone wise but not ergonomically, and 32" 5ers are my preferred flavor at the moment.

Might move one of my Muckelroys and track down a used one or reach out to Jake about a custom build.

Dr. Cheese said:

It is hard to top perfection and those albums, especially Plantation Lullabies, were perfect.

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I like Bitter also.

These have all been listed, and I will summarize: if you don't want to go all the way to flats or nylon tapewound strings, then:

Pressurewounds, whether GHS or other brands that make similar strings; I have used GHS Pressurewounds to good effect, especially to tame the twang of G-strings when combined with (now discontinued) GHS Progressives.

One of these days I may have to see what SIT Silencers are all about.

Half-rounds, ground-wounds, etc., again, by GHS or other similar brands. I have played them and they do what they say.
I have a set of GHS Brite Flats on one of my basses I really like.

GHS balanced nickels feel smoother than other rounds to me.

I have heard that D'A half rounds are good, but I have no experience with them.

I don’t have any delusions of grandeur with this mic project.

In fact, the last time I might have tried any of this was 10-15 years and at least two basses ago.

I’m getting a much better acoustic tone these days so I figure it’s worth revisiting.

I have a coupla quieter gigs that could be ampless, but I still like a little reinforcement regardless. I’m imagining these situations would be ideal for a simple mic setup.

EdO. said:

Thank you @MochaFiend. Wasn't aware of this sale.

Oooh, tempting... God knows I don't need another bass, especially since my main go-to's now are two Sadowski's. I have several basses I really ought to sell since I don't play them much since getting the Sado's, but reselling anything these days has gotten to be such a PITA.

And I've never tried a fanned fret, and I really don't need another bass, and...

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Multiscales are different. 5 string 33-35” is the easiest to start with; a used Maruszczyk is a good introduction. Multistops on higher frets can be tricky—a lesser span from shortest to longest string helps. Super J is 32-35”, probably the best Sadowski comparison. The extra 1” span just adds a little trickiness to the higher frets. 37” took more adjustment for me due to the long reach and the shifts in plucking position. You might hate it or you might sell the Sadowskis. IMHO the long B string is critical and I don’t want long G strings. End of story for me since I only play 5ers. For 4 string it’s a more fair comparison with straight frets.

Part of the ''Peavey Sound'' was the DDT compression in the power amp coming in when the amp in pushed to give a mild compression from what i can gather..my MKIV started to sound more dynamic when playing in a band later on in the night when we started to play more uptempo..louder songs and the DDT started to come on ..a MKIV with class D power does sound good tho'...going by what Peavey has done with the recent Festival head that would be most likely if they were to do one..and DDT is still featured on current Peavey amps like Mini Mega and so on..

Anything by Tom Lehrer.

When Weird Al Yankovic is good, he's GOOD.

So many songs that I heard on the Dr. Demento Show so many years ago.

Zaratt said:

This heavily influences my decision, as I am looking for a second amplifier with similar characteristics to my current one (Epifani Piccolo UL501), which allows the distinctive tones of each of my basses to shine through. Thanks for the insight!

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I gigged an original Epifani piccolo. Great amp. Definitely some magic in the mids on that one. The SD is similar, but maybe even more transparent based on my very foggy, questionable memory. I think the Eq on the SD is a little easier to dial in.

InkCow said:

It’s more like twice that in the U.S. ~$120

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I stand corrected, whoa, that's crazy!

Transistor said:

d a new bung in PLA and glued a layer of rubber on the bottom.

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I've also had this issue at some point. A 'chattering' when playing on tiled floors. I use the Wolf Super End-Pin and when that rubber on the bottom gets worn down, the metal 'cup' will chatter on hard surfaces in a particular orientation.

cfortner said:

Last work:

There are 1 ohm 3W 1% resistors only in the kathode of the middle pair of valves. I'll install these resistors at the other valves also for controlling if BIAS current.

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IMHO, might as well do all six cathodes, so you can check how well the tubes are sharing current.

BassicJazzy said:

I think that was the point made previously, right? But yeah, that's correct.

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Wait, do some people read all the other replies before they post?

Weird.