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Discussion in 'Amps and Cabs [BG]' started by JimmyM, May 25, 2008.
The official Ampeg Ampig (without an amp peg).
I will note for the record that almost everything on my list was acquired before I ever met my now-ex-wife, single and living alone. Make of that what you will.
PF50T has yet to arrive.
Hope that the wait for the PF-50T is not too long.
Here's some info on the 6BK11 and potential subs. Good info to have. Post #10 has the sub/comparison list.
Ampeg Jet -- 6BK11/6C10 Tubes
I have a tube substitution manual that says 6K11 and 6Q11 will sub for 6BK11 but has a footnote "may not work in all circuits". One of the triode sections has less gain than the 6BK11. The other two sections are the same. That may or may not be a problem in this amp depending on where in the circuit that one section is located.
Tubes like that will last a long time. The tube in the amp and one spare would probably last longer then us!
Thank you, that’s a good thread.
I’d like to be clear, I am in a very good band with a couple of talented guys and am very grateful for that for sure. We were just getting going when COVID hit, had a number of pretty good Saturday nights lined up. We barely took a break during COVID, and have written another full set of songs as well as recording everything new, and re-recording some of our older stuff. I was commenting that I feel like I should be in a 2nd group so I could have even more opportunities to use all this gear. Always searching CL for that next group of people to jam with!
If you need to free up some space, I can "store" some of it for you here free of charge. Load it up and bring it over. You could get to the DFW area in 3-4 days.
Thanks! Me too!
According to Standing in the Shadows of Motown, Jamerson used a B-15 live (and occasionally in the studio), sometimes with an extension cabinet; the amp would be set with the bass knob all the way up and the treble knob on half.
Bass on full, treble at noon. Maybe it’s worth getting used to. Jamerson also used a sponge under the strings at the bridge to dampen the sound. He really liked to emphasize the low end.
I've tried it with mine, except subbing my tiny little Dunlop flats for the giant LaBella cables Jamerson used, and it darn sure sounds like what you'd expect from listening to a session he recorded. Gotta have the volume up to get a little grind, too.
That's my settings - palm-muting (no foam etc) and mostly pick ala' Carol Kaye playing mid-centric basses w/bass & treble full up.
The BT15 manual recommends Bass near full and Treble at zero. Interesting starting point
What cabs are those?
I was wondering the same thing.
Same here with the playing style. With a pick I just naturally palm mute as I play. It works out well.
Yes, palm-muting gives one more control to mute or not mute selectively. I restored a '63 Burns of London Vista Sonic (pre Ampeg affiliation) med scale w/flats and put a thin foam pad under the bridge-cover which subtly mutes the strings. I usually never use the bridge cover on any bass I play, but as this was a restoration I wanted it to be as it was new from the factory.
As a lifetime finger player, I have not necessarily needed to palm mute, and sometimes the fingers tend to mute the strings that are not being played, and also I frequently use my left thumb (I’m right handed) to keep the E under control when necessary. I have also been using the pinky on my right hand to do a mute on the one string I might be playing in a short quiet part. I do use a pick occasionally and do see how important having the ability to palm mute is when picking. Very hard to do on a Ric 4003, which seems to be the hardest Bass to contain when those strings are ringing out. Palm muting is a skill I sorely lack, as it feels awkward. I really do need to work on it though. Also, playing in mostly loud rock bands it hasn’t been much of an issue, but these days my band is more versatile and writing more of a variety of songs that have more dynamics, and with high level recording gear in our studio, recording everything all the time. So that palm muting thing is an important tool to have.
I think palm-muting is more of a pick thing, as finger-style (as you have noted) has more to do with selective string dampening using fingers to dampen non-played strings to prevent them ringing instead of going for a muted 'plucky' tone. With aggressive pick playing, (rock) palm-muting wouldn't be incorporated.
Ampeg PF210HE and Ampeg PF115HE.
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