My VTM120 is a perpetually dirty. If it ever gets regular use again, I need to scrub it down with a warm rag and some mild detergent or something.
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Stoner/Doom Bassists Thread, Part 90: Maxed Out
- Thread starter Korladis
- Start date
My VTM120 is a perpetually dirty. If it ever gets regular use again, I need to scrub it down with a warm rag and some mild detergent or something.
Maybe its just me, but I feel like inexpensive old amps should be dirty. Not necessarily tattered and torn, but a dusty old peavey has a certain aesthetic that a pristine specimen lacks. Not that there is anything wrong with a clean amp if that is your thing. I just think of an old peavey microbass that I used to own that was intact, but grungy. I would take that little combo over literally any new practice combo, cosmetically speaking. I ended up giving it away to a former coworkers son who was wanting to learn to play bass. I sold her a parts jazz for next to nothing and gave her the amp as well because she had pretty much no money at all and wanted something nice for her son for his birthday. I don't regret getting rid of the amp at all, but I still wish I had it at the same time.
That being said, it is hard as **** to sell a practice amp.
That being said, it is hard as **** to sell a practice amp.
Yea just don't get it too wet the crappy particle board comes apart. I got a mark IV for peanuts a few years back and in cleaning it it got a little too saturated toward the inside and it started flaking away near screw holes and routes.
someday I'd like to rehouse the peaveys in real ply and duratex.
I'll typically price practice amps at $25-$40 and it'll sell pretty quick here.
As for aesthetics things have to match or flow. Like my dually and bassic are mint, so if my head was janky it would bother me. Now a beat up old guitar and combo is beautiful.
That said there is something cathartic to me about restoring a piece. Get a new used amp or instrument. Take it down to the bare pieces. Clean and rebuild and learn it inside and out.
As for aesthetics things have to match or flow. Like my dually and bassic are mint, so if my head was janky it would bother me. Now a beat up old guitar and combo is beautiful.
That said there is something cathartic to me about restoring a piece. Get a new used amp or instrument. Take it down to the bare pieces. Clean and rebuild and learn it inside and out.
Less doom, more stoner today. Rocking some Sheavy with my morning coffee.
At one point I had designed a new head shell and face plate to make my buddy's VTM look like an Orange. He never pulled the trigger though and eventually I no longer worked at a place where I had access to a C&C machine, laser cutter and engraver to make everything. Tom from Mammoth did a pretty nice new stained wood shell for a VTM for someone, it's on his FB page.
You know, I've been thinking...in my listening habits I have an odd dichotomy of extremes in a way.
I love good heavy stuff. As heavy as can be a lot of the time. Fast or slow doesn't matter much...just heavy.
But I also like a lot of very mellow music...some ambient stuff (I don't like the stuff that sounds more like New Age, but REAL ambient as in frozen sounds drifting through the air with no beats or vocals..) and old folky/mellow stuff like, oh...certain Nick Drake, for example.
But I find I care for very little "middle of the road" sorts of things. Like indie pop and stuff that might rock a little, but is too busy or rocking to be ubermellow, yet not rocking enough to be actually heavy.
Why am I even taking up space posting this crap?
Ender has the Joyo D-Seed and digs it. I have the Mooer Reecho Pro which is pretty cool. I think the Akai Headrush sounded the best of the delays I had with tap tempo though.
My Tech 21 Boost DLA has a tap tempo, really long delay times, tone and modulation control, switchable triplets and trails modes and is analog. I quite like it, though it doesn't have an over the top "analog" voicing to it, it's just a pretty clean delay. Consequently I still kind of want a really dark sounding analog delay just for fun, like the Carbon Copy. I keep putting one on my trade wants when I list stuff, but no go.
it can really vary, from $40 to $1000. average is probably $200-$250.
Typically we split the door with all the bands. the out of town band may get a bit more but it depends on who is putting on the show.
Finally got off my arse and posted stuff for sale on reverb. I posted a ToadWorks Barracuda that I have been trying to sell for months it seems. Sold in 24 minutes. Hot Dog.
Dunno why, but it has never really mattered to me, the order my bands have played in. I figure there's benefits to any place in a lineup. Opening, people are excited to hear the first band out of the gate, playing in the middle of several bands you might get lost from memory a little, but it's also less pressure. Headlining usually has the highest profile, but sometimes the audience is already streaming out.
I've had band members of bands I was in fight with members of OTHER bands about this very subject, but for me it never mattered somehow.
This would be awesome! Last show we threw, we collected $115 split between 4 bands from out of town.
The most we made previously from the door cut, was $70. We just made $170. We are really close to having funds for the vinyl. So close, our guitar player has started the album art.
There is a thread over on the GB forum about that product. Someone used it to cover a sub of some kind. Not the best option as a cab covering from what what written there.
Yeah, it doesn't usually matter to me who plays when. But, we like to feature out of town bands when we can. If you aren't opening or closing, you have a good spot. The openers almost always play to an empty room. Lots of retail workers in this scene which means sh!t doesn't get started until 10pm, usually. If you are opening a 9pm show, there is no one there. But, this can be good, if you are having nerves or want to party. Play first, party first.
when I make a playlist it looks like two or three people made it and sounds super disjointed to my friends. Will start out like black keys, then nirvana an alt-country song some blondie and sugary pop then bam Eyehategod and some black tusk.
That reverse setting on the d-seed has me curious
I had reverse settings on a few delays I had and it is on the Reecho now, not very useful to me. Even with delay I like it to be very subtle.
