Recent content by Schmorgy

8ohm impedance on the cab and it's rated for 350 continuous and 700 program. The amp itself puts out 350 on 8ohm when wide open and 500 bridged. Eq had the bass at 12 oclock, mids at 3 oclock and highs pretty much throttled right off. Bright button was off and limiter built into the head was on.

It's always ok to under power the cab, you just don't want to do the opposite. Think of the head's wattage as what it can put out, and the cab's wattage as what it can take. As mentioned above, keep in mind that cranking the bass knob on the EQ is going to result in a lot more juice into the...

Sometimes when I play metal, I'll play the standard tuning of whatever drop tuning the guitarists use (Such as C standard when they play drop C). I find it gives me more freedom for runs and fills without having to worry about wicked stretches when going between strings (though if you follow the...

This thread makes me so thankful for the sound guys at our church being pretty passionate about what they do and the two massive 2x15 subs we have flanking the stage. I'd be pretty frustrated in your position too, and would hate to be completely squelched like that, but do try to remember the...

So I recently acquired a Fender Bassman Pro 4x10 Cab (eminence speakers from what I can tell) and while jamming today at band volume (through a Hartke LH500 head with the volume at about 6.5/10) I got to witness a smoke and lights show from the crossover. The horn attenuation knob was set at 12...

So I've got a CIJ Fender Aerodyne Jazz Bass (non-export model with the pickguard) with the P/J setup, and I'm looking for a pickup setup that won't require me to sell my body on the streets. I really like the snarl of the bridge jazz pickup and the overall presence it has in the mid-range, but...

Kyle S's point is that they serve to change the overall sound, and he's right. Yes, tunings like drop D make it easier to chug a power chord, and that is often why that tuning is assumed, but the bigger purpose it serves is loosening up and darkening the E string's sound without requiring the...

John Deacon does a lot of that. Ascending and descending scales for fills, as well as rapid triad fills. Nothing overly complicated when you break them down, but they still sound wicked.

I've only ever been in bands that use onomatopoeias to communicate: Singer: Drummer Do that Dundundund Boom Tchrack thing again. Guitarist: Bassist, what was that BAWMP-PLAP- thing you did? Try it again. Me: So are we playing an F major key in C mixolydian? Guitarist: No, we're playing it C...

It's also important to find a sound contextually relevant to what you're playing. If you take Geddy's current sound from, say, the Snakes and Arrows album, and put it in 2112-era Rush songs, it'd sound a lot different. A lot of bassists love to use distortion and I'm not against that, but when...

I wouldn't say to "ditch" patterns per-se. Obviously the pattern changes quite a bit when the E string and the A string become more than a 4th apart (I'm just going to refer to the strings in their standard tunings to avoid confusion), but from the A string to the G string, the pattern stays the...

For left-hand muting technique, I reach out to Rocco Prestia's method. Most of the time, the dude only fretted with his index and middle fingers, and he used the ring and pink fingers to mute the strings giving that steccato feel. Even finger style I use this method since I find trying to...

That's pretty awesome on the company's part too.

Do you happen to have any examples of this sound? My curiosity is piqued, but I do end up soloing both pickups from time to time. If I like the tone enough It may be enough to get over that though. Or do you mean isolate each pickup to its own volume pot, but put the pots in series to the tone...

It's the logical progression from shoegaze: ampgaze.