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Discussion in 'Amps and Cabs [BG]' started by Mon Rominee, Sep 21, 2005.
what do you think?
I think amp is really cool.
I tried one last week at musicstore with bass, and it really sounded.
I also tried other amp but it didn't sound.Although bassist uses it on album.
exactly. I have a 2 for 1 coupon. That means louder, you know?
is more or less meaningless in other than very general terms. You know the GK is in your face, the SVT is a heavy mofo, Eden's are warm, SWR's are not, Demeter's are clear but have no real tone controls .... yada, yada ...
For me, it's the entire signal chain. From the pickup's through the pots, effects, pre on to the power amp or channel strip ... Every stage of the journey adds some coloration. That offers us the ability to build up the chain to deliver the specific tone we're looking for.
Multiply this times about 10 for guitarists!
If you're a gigging bassist there is a pretty narrow envelope of tone that actually works. The envelope changes it's shape from musical setting to musical setting and from room to room, but for the most part we're headed for a pretty full sound with varying amounts of high end.
Off the top of my head ... There really isn't that much distance from Chris Squire to Geddy to Flea. To my ear, it's fairly subtle. I think of this as the Chris Squire school but Entwhistle has to be considered somewhere ...
Not much distance from Bobby Vega to Rocco, to Harvey Brooks, to Duck, to Babbit - these guys the core of the R&B school of tone to me. Me - I'm a disciple of this school today but I used to be in the Squire camp.
I guess from a pure tone perspective there would have to be either a Louis Johnson or Larry Graham or Bootsy school as well. We know that Larry pretty much got the snap and pop thing going but his tone wasn't too far off the R&B school. His innnovation was more about technique IMO. LJ was one of the first slap and pop with a serious scoop tone that I recall... I wasn't paying close attention back then so I surely could have missed someone...
If the Chris Squire, R&B and "slap 'n' pop" school of tone are legitemate comparisons, what other schools are out there ?
Is John Paul Jones a disciple of Noel Redding and or Jack Bruce ? or are they a nuance of the R&B school ? or are they their own thing ?
Carol Kaye ? Vic ?
I don't listen to nu-metal at all. The material just annoys me and for the most part the audience does as well (yeah, I know -old, cranky and set in my ways ... whatever ) Beyond all that- is there a nu-metal school of tone or are they a continuation of one of the above ?
As players of course all of the above are unique, wonderful and gifted players. I might not have nailed the origin of the 'schools of thought' on tone for sure. These guys were just the ones that came to mind.
yours is louder than mine , but thats ok because i >u ...
Dude, that's EXACTLY what I said to the scoop chick at Friendly's, and I still didn't get a happy ending sundae.
Dude - problem was you should have been ordering the Awful, Awful. ... I've been gone from NE for a long time but back when I was skinnier I used to live at Friendly's ...
I had the first set of production EAW Bent Horn 18s about a million years ago. Used them under a set of the 12" with 'beam-dork' mid-bass cab's and a high end cab. We dragged those cab's back through the factory (Worchester ? Framingham ? I forget) for the next several trips through the area for tune up's. Had the drivers changed, had the chamber's filled with stuff, had the stuff removed. Changed the drivers again... Added handles. That cab was a mother to move without handles... like wrestling a refridgerator. Made moving my SVT bin look like childs play.
A couple of the EAW techs of the day came out to listen and advise on x-over points and general PA stuff a few times when we were close. We sort of acted as the guinea pig band for a bit there as EAW fine tuned that design. Great fun as the factory always treated us great and that system kicked major booty for the day and especially for it's size. Fun times
I love hearing these stories. (were Paul C. & Steve D. the techs? They're still here. ) I'm a relative newbie in terms of our history (8 years for me) and I love to see the old designs still in use, a testament to the build and design...and I like drawing paralells to our newer offerings...I see logical progressions.
Alot of places in and around Boston and Worcester still use some of the first bass bins you describe, and your mids were prolly the first of the MH series...(the donger needs food! )
I'm glad you saw the humor in my reply and went with it. I appreciated your thought out reply...it's in keeping with my disdain for countless upon countless threads ____ vs. ____. WHY can't people just go out and use their own ears? You'll see I'm most often very flip on these boards, but still take the subject matter real serious...just like to be goofy is all.
The awful awful is definitely that...so good it's bad, then waaay back to good.
Not sure of the tech guys names at this point. That was late 79 early 1980 or thereabouts ... and my memory ain't what it used to be... actually it wasn't all that good to begin with ;~)
Yeah I kind of knew where you were going when I read that and throught maybe Id head in a different direction with it.
... and being an ex-patriot New Englander, I grew up on a steady diet of sarcasm and irony... I mean with the Sox and the Pat's as the close in home teams (I was in Mystic, CT) how could you take life real seriously anyway ?
As a player it is kind of an interesting though about the different schools of bass tone and where they originated. I'm going to have to reach back and see about some of that. Of no practical value of course. No more than the typical JPJ is best 'cause I said so threads (yikes!). If nothing else it will serve as a diversion for a bit...
and that awful, awfil is way off the bell of my diet curve, due to my waist line curve ...