Yeah, I have to admit, it's a smokin' bass. Funny, as played as the burst finish is, I'm still in love with it. If I were to get an LM with maple, blocks, and binding, I'd probably also make that a burst. Call me boring, but I know what I like.
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Yeah, that's ok, that's a bada$$ enough looking bass you just joined Jonno on my hate list, pal. Oh, and don't call me Francis...I love the black & maple F/B on my Ice Blue RA-5.
But really love the pearl too. I also love Jonno's CAO
with binding and dots!!
The black blocks and binding just look SO good with
the ice blue...
Dan
This 1600 - Spalt maple top on alder, Bacote board, should be arriving with me in the UK this week. Can't wait
Congrats man ... that bass is ridiculous.
It sounds soooooo good.
Hey Dan,
Is this because of the hum when the two volume knobs are not at the same volume level? If so, try an Electro Harmonix Hum Debugger pedal. It worked wonders for me.
Chef
In Memoriam
Or, one could replace the second volume with a blend pot, allowing the volume to be turned off more easily.
Chef
In Memoriam
Those don't solve my problem tho... I play in multiple worship groups and I REALLY like to do a "fade out" at the end of the song based on what's going on at the time either musically, vocally, or both. I have to have either a volume pedal or a vol-pan setup. I'm thinking about getting a pedal, because I really want to bring the LG into one of those settings, and the vol-vol config is enough of an "issue" to make it second tier choice for that job, and I'm not really keen on converting the bass in this case.
Or, just play softer
There is no reason that a decent player (which you are!) can't do a fade out without touching any knobs. It's the same thing with slap tone, and some guys needing to change tone for that. There again, IMO and IME, is no reason that (assuming a certain skill level) a player can't get virtually any volume level, fade, tone, punch, burp, etc. out of a decent instrument and rig without ever touching a knob after the first downbeat by just using dynamics and hand position. IMO!The only thing I ever touch during a gig is the neck volume control, which on rare occasion, I dial back 10% to add a bit more mid punch and reduce the deep low end for a solo passage, or for particularly dense fingerstyle playing, and even there, I can get 90% to that by just digging in at the bridge.
Sometimes, we all get a bit tied up in our shorts over this sort of minutia IMO.
That being said, I think the person who raised the dual volume issue above was talking about turning the volume down between tunes. A mute botton works perfectly for that, although I've never had an issue with just dialing down the two V controls and then diming them back up when the next tune comes around in a 'show type' situation.
Or just play quieter! I use my LG5 (with no volume pedal) every week for worship service. Quiet time or fades = play with the thumb and mute with the left hand or right hand palm.
Or using any technique... two finger, pick, slap. You should be able to go from full on to full off gradually without any 'electronics'.
That's all OT though..... all these Alleva's look GREAT!
Or, just play softer
The only thing I ever touch during a gig is the neck volume control, which on rare occasion, I dial back 10% to add a bit more mid punch and reduce the deep low end for a solo passage, or for particularly dense fingerstyle playing, and even there, I can get 90% to that by just digging in at the bridge.
Sometimes, we all get a bit tied up in our shorts over this sort of minutia IMO.
That being said, I think the person who raised the dual volume issue above was talking about turning the volume down between tunes. A mute botton works perfectly for that, although I've never had an issue with just dialing down the two V controls and then diming them back up when the next tune comes around in a 'show type' situation.
+1, I'm with Ken on this one. I never touch a knob after the first down-beat -- except for very rare circumstances as Ken points out.
Yeah, I didn't mean it to come across like I can't control my volume, which I absolutely can. I was meaning that for what Vic was talking about doing, I usually just whip out that technique. Otherwise, yeah, it's about dynamics and controlling your volume.
Thanks for the props... coming from you that means a lot, but I'm not talking about dynamics... I'm with you on that and I already do that.Or, just play softer
I'm literally talking about the last note of the song. Literally a fade out. I've already hit the note, maybe hard if it needs to be a powerful thing, but then based on other things, I may do a slower fade, or a quicker fade (or even an abrupt hand mute) as directed by the leader. It's a pretty specific thing (and, quite frankly, kinda' nitpicky I must admit, but even little things in music mean a lot to me
).Yeah, I wasn't commenting on that. That's why I lead off with "my problem". Just offering an alternative justification for a "master volume" somewhere in the chain.
Thanks for the props... coming from you that means a lot, but I'm not talking about dynamics... I'm with you on that and I already do that.
I'm literally talking about the last note of the song. Literally a fade out. I've already hit the note, maybe hard if it needs to be a powerful thing, but then based on other things, I may do a slower fade, or a quicker fade (or even an abrupt hand mute) as directed by the leader. It's a pretty specific thing (and, quite frankly, kinda' nitpicky I must admit, but even little things in music mean a lot to me
Yeah, I wasn't commenting on that. That's why I lead off with "my problem". Just offering an alternative justification for a "master volume" somewhere in the chain.
To fade a very last note, you just put your right hand palm or thumb on the part of the string that hits the bridge saddle. Gradually increase pressure and add more "meat" to the string in front of the bridge and it starts to mute and fade out. Learned this one from watching Norm Stockton.
Thanks for the props... coming from you that means a lot, but I'm not talking about dynamics... I'm with you on that and I already do that.
I'm literally talking about the last note of the song. Literally a fade out. I've already hit the note, maybe hard if it needs to be a powerful thing, but then based on other things, I may do a slower fade, or a quicker fade (or even an abrupt hand mute) as directed by the leader. It's a pretty specific thing (and, quite frankly, kinda' nitpicky I must admit, but even little things in music mean a lot to me
Yeah, I wasn't commenting on that. That's why I lead off with "my problem". Just offering an alternative justification for a "master volume" somewhere in the chain.
+1 I guess I can see a use for that in certain situations, and would see the advantage of a volume/blend in that situation.
+1
Been that way for many years with me. Muting and BOTH right AND left hand "dynamics" have always been important to me... as well as all the different sounds you can get by all the different things you can do with both hands and also right hand position. That's kinda' where my tagline comes from... the nuance vs the notes thing.
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