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These Loving Eyes posted:seafoam green sex That is...my god. I don't even know. Consider me one extremely jealous goon.
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Aug 1, 2011 04:31
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Sparkle Biscuit posted:That is...my god. I don't even know. Consider me one extremely jealous goon. Thanks! Not meaning to make you even more jealous but I got to say that the tone is awesome (I can cut through the mix clearly), playability's really nice and the weight isn't bad with a proper, wide and soft strap. 
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Aug 3, 2011 14:11
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If you don't look at the consumerism thread, check it out now: http://forums.somethingawful.com/showthread.php?threadid=3241000&pagenumber=5#post394206880 This deal is spread over on talkbass and ricresource. Even John Hall made several comments about it. It's a fantastic deal and a wonderful color.
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Aug 4, 2011 19:43
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This is what happens when a bassist is given lots of spare time, some power tools and a few hundred bucks: It's not entirely finished yet - I need to beef up the crossover mounting bracket, and the mid driver's crossover doesn't seem to be cutting out enough of the low frequencies, but it's finally making noise. I brought it to a rehearsal, and it worked wonderfully. For those who are interested, my (unorganized) build odyssey can be found here
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Aug 8, 2011 03:08
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I hope this is the right place to ask what is hopefully an easy question - I didn't see any "ask a stupid question" megathread. If it would be better served posted somewhere else please let me know. A friend of mine is playing a pub gig soon and I'd like to record some of the songs. I was wondering what the minimum amount of equipment is to get a listenable "bootleg"? I have some decentish USB mics (ie. the ones you get with Rock Band) and a laptop, is that likely to work?
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Aug 8, 2011 03:38
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 Maybe we need to give the drummers their own thread  For content: I played one of the new Warwick Thumb 4 Pro Series the other day at my local music haven. I've always had a hardon for the Thumb series, but never the capital; they retail for about $4000AUD and the cheapest I've ever found a German made Thumb 4 in WA is $2999. So the new(er) Thumb 4 Pro is made in Korea, but uses the same MEC electronics as the German version, and has an Ovangkol mahogany body like the old German Thumb (which is now Bubinga). The biggest thing letting it down is the mystifyingly glossy finish. I love a natural finish but not so much the gloss. BUT! According to my good friend at Music Park, it can be mine for $1700... It PLAYS like a real Warwick, and sounds like one. Thinking about pulling the trigger. The only thing stopping me is the aforementioned $2999 German thumb hanging up right next to it :| But even the Korean one is so much nicer than my Ibanez SR500 that I think this is inevitable. Any other Warwick Thumb or Pro owners in here able to chime in?
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Aug 8, 2011 04:47
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Ackbarf - difficult call. I haven't owned a Thumb, but I am always looking for a late 80's Thumb NT from Germany. Love the black hardware and carved rear headstock. They were built very different back then, and each felt slightly different. But I've played many different Warwicks, especially Thumb 4's. If I were you, I'd just save the pennies for the German NT if it is a NT. But if you are on a budget or don't want to drop 3K for the German and the pro Korean fits the bill, you don't care for the NT option, nor black hardware and the wood grains are to your liking, by all means... go for it. But another way to look at it is this - in two or three or even five years down the line when it comes to selling it, the German model will fetch the approximate same dollars, and the Korean might slip a little. Edit: check out this thread - Warwick Forums - Korean vs. German Schatten fucked around with this message at 15:38 on Aug 8, 2011 |
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Aug 8, 2011 15:34
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~Coxy posted:I hope this is the right place to ask what is hopefully an easy question - I didn't see any "ask a stupid question" megathread. If it would be better served posted somewhere else please let me know. Don't see why not, you could at least get an audience recording - just play around with placement to make sure you aren't getting any phase issues, and don't put it too close to anyone talkative. If the venue has some kind of PA or mixing desk you could probably get a mix piped out for you to record, if you're nice to the sound guy
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Aug 8, 2011 18:28
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CaseFace McGee posted:This is what happens when a bassist is given lots of spare time, some power tools and a few hundred bucks: Where can you find the plans for the 212? I looked on BFM's website but it only seems to have the single 12 variations. I just dropped almost 100 dollars on bass strings. The D'addario nylon tapewounds sound excellent on my Tacoma acoustic, and I'm hoping the Labella flats are worth their steep price. I'll find out when I get my tech to put them on after he fixes the intonation and the high 7th fret that I believe is causing problems.
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Aug 9, 2011 03:31
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Juaguocio posted:Where can you find the plans for the 212? I looked on BFM's website but it only seems to have the single 12 variations. I love my Labellas. I tried Chromes, GHS, and Rotosounds before Labellas, and I haven't had the urge to try anything else since. I use lights, which aren't really that light compared to most other flats. Trying different bass strings is expensive (especially since I have 3 basses with 3 different scale lengths so I can't move strings between basses) but it will be nice to not have to buy any for the next 10-20 years. Until I buy more basses, at least.
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Aug 9, 2011 03:43
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I love my labellas as well. They're expensive, yeah, but you'll never have to replace them.
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Aug 9, 2011 04:10
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Narwhale posted:I love my Labellas. I tried Chromes, GHS, and Rotosounds before Labellas, and I haven't had the urge to try anything else since. I use lights, which aren't really that light compared to most other flats. Trying different bass strings is expensive (especially since I have 3 basses with 3 different scale lengths so I can't move strings between basses) but it will be nice to not have to buy any for the next 10-20 years. Until I buy more basses, at least. I got the light five string set. I've been wanting to try Labella's B string for a while, and their choice of gauges seems to be the most balanced, on paper anyway. I love flats for the reason you stated - it takes a long, long time for them to go completely dead, though some brands do better at this than others. I have some D'addario Chromes that have been in constant use for over two years on multiple basses, and while they're pretty worn out, I can still get a good sound out of them with a bit of coaxing. GHS flats, on the other hand, start to sound pretty crappy after a while. I haven't worn my Ernie Ball flats into the ground yet, but I imagine they'll be similar to Chromes, as they are in most aspects.
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Aug 9, 2011 08:11
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Juaguocio posted:I got the light five string set. I've been wanting to try Labella's B string for a while, and their choice of gauges seems to be the most balanced, on paper anyway. I love flats for the reason you stated - it takes a long, long time for them to go completely dead, though some brands do better at this than others. I have some D'addario Chromes that have been in constant use for over two years on multiple basses, and while they're pretty worn out, I can still get a good sound out of them with a bit of coaxing. GHS flats, on the other hand, start to sound pretty crappy after a while. I haven't worn my Ernie Ball flats into the ground yet, but I imagine they'll be similar to Chromes, as they are in most aspects. La Bellas get better the more worn down they get. At least that's the opinion of the majority of the players out there. Assuming they're installed correctly, you'll pretty much never have to change them.
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Aug 9, 2011 14:22
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I think I'm in the market for some new strings. I've been using Ernie Ball Super Slinky for the past couple years now but recently I've been frustrated with their life. I changed my strings like 2-3 months ago and now they feel sticky and harder to play fingerstyle. My bass has been in a temperature control environment the entire time. I play rock with a little bit of classic rock, indie and southern influence. Anyone have any recommendations for a good string that won't feel harsh on my fingers after a couple months. I play a Fender Marcus Miller Sig 4 string 100-80-65-45 set.
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Aug 9, 2011 16:09
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Gonna chime in with some DR love. They have a pretty diverse lineup and their website gives you a good idea of what kind of characteristics each set has. I've never played the super slinkies but I really like the nickel lo-riders and sunbeams. If you like the really bright "new string" sound I'd recommend stainless steel, though.
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Aug 9, 2011 16:15
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I can't believe 'The Evolving Bassist' by Rufus Reid isn't in the OP. I didn't read all 95 pages of this thread, but that is seriously the gold standard of books on learning to play bass.
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Aug 9, 2011 16:58
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Plastic Snake posted:Gonna chime in with some DR love. They have a pretty diverse lineup and their website gives you a good idea of what kind of characteristics each set has. I've never played the super slinkies but I really like the nickel lo-riders and sunbeams. If you like the really bright "new string" sound I'd recommend stainless steel, though. Ditto. For roundwounds I always go to the DR Nickel Lo-Riders.
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Aug 9, 2011 18:03
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Juaguocio posted:Where can you find the plans for the 212? I looked on BFM's website but it only seems to have the single 12 variations. I bought plans for the Omni 15 TallBoy, and it describes the cuts for both the 15 and the 2x12 versions. I'm pretty sure the standard Omni 15 also details the 2x12 cuts, and the Omni 12 includes the info for a 2x10 build. Overall, there really wasn't much difference between the 15 and 2x12 builds - the lowpass crossover was altered, the brace in the woofer horn is moved slightly, and there are two big holes in the front instead of just one. Today I'm going to attempt to figure out what the hell is buzzing inside my cab. I'm hoping it's just the mid driver's grill and the zipties on the crossover. If not... this could be a bitch.
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Aug 9, 2011 20:41
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Maple fender jazz with a rosewood fretboard and white pickguard - can I get a rosewood pickguard? I don't play with a pick and I'm not so keen on the white one, but all the places I see are super expensive custom shops. Anyone see any nice color combinations with a maple/rosewood j-bass?
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Aug 9, 2011 20:53
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How is the Washburn T12 for a starter bass? I'm helping my parents pick out a starting set-up for my little brother. I'm leaning towards either the T12 or an Ibanez GSR200, and then an Orange 25 Crush for the amp. I think the same shop has the Roland amp in the OP, so I might look at that one too.
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Aug 9, 2011 23:06
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I just finished modifying a rack to create a portable rig. Here is what I did:
       As for the bass, that's my Woody Allen Rumblekat that I put an Alumitone P90 in. I'm waiting on strings for it.
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Aug 9, 2011 23:56
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Slick! Especially dig the stand.
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Aug 10, 2011 04:51
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I hope you can fit the head unit in the case, if so that owns
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Aug 10, 2011 06:06
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How do you like the shuttlemax? My next amp will likely be a Genz Benz...
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Aug 10, 2011 14:14
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The guitar stand is very, very stable. I put my Music Man Sting Ray 5 in there and you really have to push it back to make it tip over. I sent in my pictures to Road Ready last night and I'm e-mailing them to consider making something like it to retrofit whatever rack. I thought about putting the head into the rack, but I just need access to the volume. If I mount it in there then I either have to bend down to adjust the volume or not at all. And the amp is an older Shuttle and...I don't really care for it. It sounds like is missing the kick of a normal amp. I actually bypass the entire preamp and just use it as a poweramp. The only reason I use it is because of size and weight, but they are very powerful amps and I rarely turn mine over half way up. If I were to get a new amp again, I'd look more into TC Electronic's stuff. I think my next project is getting something like a Line6 M5 and creating an expression pedal built into the bass in the form of a whammy bar. That'd be a lot of fun for the pitch shifting effects.
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Aug 10, 2011 17:49
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Scarf posted:Assuming they're installed correctly, you'll pretty much never have to change them. Could you elaborate on this? How do you install strings incorrectly?
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Aug 10, 2011 18:48
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RTM posted:Could you elaborate on this? How do you install strings incorrectly? Well aside from the typical cutting them to the proper length, sticking the end in the center-hole on the post, wrapping them in the right direction, going from the top of the post down, etc... My first set of La Bellas, I had what seemed to be a dead string. I contacted their QC (which is like one or two guys, who were extremely helpful and sent me an entire new pack of strings rather than just a replacement). He told me that while it could have been a dead string, I needed to be sure that once I measured to the proper length, that I needed to bend the string at the point I was going to cut it. Like bend it enough to create a crease. He told me that, this way when I cut the string, it would help prevent the core from snapping. It can also snap if you measure in correctly and the actual STRING (beyond the wrapping) wraps around the post. I could be wrong, but I think this mainly applies to flatwounds.
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Aug 10, 2011 19:12
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I read you also need to make sure they wind down the peg enough that you get a nice steep angle over the nut, unless you have a string tree pulling them down. Apparently having the string pass over too straight will make it sound deader (I've only strung a bass once so this was an exciting concept for me)
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Aug 10, 2011 21:11
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Rifter17 posted:custom rig Daaang, makes my project look bad. Nice work. Rifter17 posted:I think my next project is getting something like a Line6 M5 and creating an expression pedal built into the bass in the form of a whammy bar. That'd be a lot of fun for the pitch shifting effects. That would make a lot of people very happy, myself included. Once again, you blow away my plan of performing surgery to diagnose the electronics issues in my fretless.
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Aug 10, 2011 22:13
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Rifter17 posted:I think my next project is getting something like a Line6 M5 and creating an expression pedal built into the bass in the form of a whammy bar. That'd be a lot of fun for the pitch shifting effects. I'm actually working on something oddly similar...
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Aug 11, 2011 00:29
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Rifter17 posted:And the amp is an older Shuttle and...I don't really care for it. It sounds like is missing the kick of a normal amp. I actually bypass the entire preamp and just use it as a poweramp. The only reason I use it is because of size and weight, but they are very powerful amps and I rarely turn mine over half way up. If I were to get a new amp again, I'd look more into TC Electronic's stuff. quote:I think my next project is getting something like a Line6 M5 and creating an expression pedal built into the bass in the form of a whammy bar. That'd be a lot of fun for the pitch shifting effects. DrChu fucked around with this message at 00:51 on Aug 11, 2011 |
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Aug 11, 2011 00:47
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Yeah, my amp is a 6.0. Adding an expression pot onboard can be tricky. A normal expression pedal uses a stereo jack. So I could go all out and get a multi-pin DIN output jack and create a breakout box with 1/4" for the pickup and the expression pot. On the other hand, from my quick research Line6 uses a mono jack for their expression pedals so I could use a stereo jack and a Y cable. And I definitely want to make it in the form factor of a whammy bar. I don't think it would be that hard: just rip out a pitch wheel from a broken keyboard and fit it in and add an arm. This has the added benefit of returning to center so I can set a Line6 M5 unit to have +2 semitones at the top of the range and -2 at the bottom (or whatever). Plus I was thinking of alo having a normal pot and an on/on switch so I could toggle between using a normal knob and the whammy bar. I also e-mailed Road Ready Cases about creating a guitar stand that would retro-fit into their lids and they haven't gotten back to me.
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Aug 12, 2011 05:47
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Rifter17 posted:I also e-mailed Road Ready Cases about creating a guitar stand that would retro-fit into their lids and they haven't gotten back to me. You could always design/fabricate one yourself, patent the design and sell em to fit all manner of lids
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Aug 12, 2011 13:58
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Alright, advice time! I am thinking about doing a full electronic swapout for my two basses, mainly concerned with the pickups. guitar #1 is an '04 Epiphone Explorer with std epiphone Thunderbird style pickups, which in this thing, just don't have much output, it sounds too quiet and really doesn't get the right amount of tone I would prefer. It's a set neck with a Korina body, for reference sake. What I am looking at are the replcement Thunderbird pickups that EMG makes, saying that they should be a perfect fit and add output and tone to the sound that were not present already. Which I like the sound of, but I haven't actually heard them. This a yay/nay thing or should I just find out for myself? Guiat #2 is a Squier Jazz 5 string. Adler body, maple neck, bolt on, standard affair. Looking at possibly a Bartolini set, if they are high tone enough. The sound I am going for is a high tone but bassey rumble that, once downtuned, won't get too lovely and goes very nicely with some overdrive, so clean highs and non-muddy lows but some natural tone to it, maybe. I am sure it isn't too much to ask?!
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Aug 12, 2011 18:38
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Maximum Sexy Pigeon posted:The sound I am going for is a high tone but bassey rumble that, once downtuned, won't get too lovely and goes very nicely with some overdrive, so clean highs and non-muddy lows but some natural tone to it, maybe. This description doesn't really give much description of what you're looking for. What do you mean by "high tone"? Lots of high-frequency content? Do you like more modern "hi-fi" sort of bass tones? This thread on TalkBass has some great discussion of different types of Jazz pickups with some good discussion. I'd also recommend doing searches in the Pickups forum there, you can usually find lots of good discussion and sound clips for whichever models you're interested in.
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Aug 14, 2011 04:39
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Took my brother to get his first bass. I had been looking at the Washburn T12 and the Ibanez GSR, but he decided on a Hamer Slammer. Paid $199 for it used, how bad of an idea was it? I didn't remember much about them, and none of it good. But hey, it was the one he decided on.
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Aug 14, 2011 07:38
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There's an OLP MM Stingray on sale at a local place that the dude offhandedly quoted at $100 when I asked about their bass selection. Can anybody think of a reason I shouldn't buy it?
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Aug 14, 2011 22:24
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MancXVI posted:There's an OLP MM Stingray on sale at a local place that the dude offhandedly quoted at $100 when I asked about their bass selection. Can anybody think of a reason I shouldn't buy it? I had one for a while that I also bought for $100. They are in general not bad basses. The one I ended up with felt great, but I played a few others that day that had razor-sharp fret edges sticking out. It made me bleed, for real. The electronics and everything are pretty crappy- I had to swap out the input jack almost immediately because the stock one just stripped out. Finish was nice, the neck was nice, and it was what made me seek out the real deal. If you play it and like it, it is totally worth a hundred bucks, even if you use it as a platform for upgrading.
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Aug 15, 2011 00:38
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All right, I think I'll be done whoring out Bill Fitzmaurice's awesome cabinet designs after this, at least for a little while... Finished. With music run through my Little Mark III, this thing is ludicrously loud, and sounds great. With my bass hooked up, it pounds, but it seems to clip sooner than it should... gotta tweak it a bit.
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Aug 23, 2011 21:40
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My old DS-1 that I modded sounded great, but it has broken and I don't care to fix it; the solder points would be too weak for me to rely on. It had a ton of gain and volume boost (couldn't turn the level knob beyond 3 without making poo poo crazy) and nailed the Sabbath NIB intro tone pretty closely. What I really liked about it was the nuts-o amount of gain it had because it could feedback and sustain for days. I tried the Sub-Lime and while I love the fuzzed-out tone, I couldn't get it to feedback much at all. Maybe I wasn't using the right settings, I dunno. Are there any distortion/overdrive/fuzz pedals that sorta fit my bill? I'm thinking that I'd want an OD pedal, but I'm no pro 
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Sep 1, 2011 18:45
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