Recent content by theBassTender

Absolutely. I have a Danelectro short horn that I have used for many sketchy gigs. It's light, easy-playing and wouldn't be the end of the world if I had to bash somebody over the head with it. It's also nice for long rehearsals - feels like wearing an old shoe.

"Is that Freedom rock, man?" [Yeah] "Well, turn it up, man!"

Guitarist/singer was in a mildly successful band in late 80s-90s and he acted like it. His gaslighting got the best of him. He got to the point where he was expecting the rest of the band to show up before him, load in his gear and even setup his rig so he could waltz in late, total...

I have definitely lived in both ends of the loudness wars. In the end, just like Wargames, there's no clear winner. The only way to win is not to play at all. If you are playing venues that have a decent FOH system, let that be your assurance you will be heard - and felt. A good PA will ALWAYS...

You can never go wrong with a shorthorn Danelectro. It's right in your budget range and is extremely versatile. Plus, it's a great light-weight backup you won't have to really worry about. Also great for sketchy dive gigs.

The old saying rings true: Tools do not equal talent. I'd second that, within reason of course. A bass that plays like crap or has tuning issues is ALWAYS gonna be a problem. That being said, I once saw a mountain biker in a race totally SMOKE the rest of the pack on a stock Huffy from Walmart...

For me, it was simply adding copper shielding tape to fully line the electronics cavity. This made a huge difference in eliminating the hum of interference. The best $7 you'll spend on Amazon.

Wow, I totally blew that one huh? lol I can admit when I'm wrong. I'm better to come out with better knowledge in the end. So thanks! I guess I was confusing things with digital clipping, as in DAW recording. No matter, thanks for setting me straight. I'm guessing from your profile info and...

It's like saying red cars are faster than yellow cars.

Most, if not all, Class D amps these days have output dialed-in to where you cannot reach the clipping point. The difference being they theoretically would not distort (at the amp level) at extreme higher levels like a tube amp. (watch all the clean tone guys in the room sit up...) Well, unless...

This right here is the key. When class A amps are driven hard, harmonic distortion sets in. This, as we know, can have pleasant sounding side effects. When class D amps are driven hard, they don't distort - they clip. This sounds less pleasant. It's not that tube-driven amps are any better...

Something I'm not seeing people mention - a basic DI. I keep a sans-amp bolted to my board for the just-in-case-poopie-goes-to-hell moments. No matter what, at least I can go straight to the PA in a moment's notice. Believe me, eventually it will happen.

The Peterson strobe stomp box tuner is the only one I’ve been able to rely on

Most of these endorsements are negotiated on behalf of the band by label management, unless it’s a true “signature model”. All I t usually means is the band gets free tour gear and the label gets some compensation for advertisement of their products while on tour. This of course varies...

I know I'm very late to this but, it was VERY common for singles to be 'sped up' for radio play. The idea was it gave more energy to the tracks.