Andyman
Royal Repurposer
I've got to go move some double pane glass doors, im glad there not as heavy as my old ampeg.
This one is 84 lbs and I think the cabinet is 44 lbs.I think I remember looking that up before, and under weight, it said 80lbs.
My problem with having an SVT now is that I would be able to resist gigging with it.This one is 84 lbs and I think the cabinet is 44 lbs.
It never goes out to gigs but is my reference amp by which all things are judged.
I just moved and am about to set it up. Maybe one quick gig for fun.
I remember hearing about PRS (the man, not the company in general) back in the "pre-factory" days, hanging body blanks on a coat hanger, and hitting it with a marimba mallet, and listening for it's response, before choosing a body.Randall Wyn dropped pieces of wood on his shop floor to demonstrate the different sounds they made,
The whole half this/half that thing has me skeptical.Curious where you guys are on this thread about Dingwall basses.
I've never played a Dingwall but am curious as to what you guys believe about basses made from identical materials sounding the same.
Sheldon Dingwall talks about tone wood.
https://youtube.com/shorts/_EyQ8xCp024?feature=share This is worth a quick listen.www.talkbass.com
Reliably? Probably not. One guy who addresses this often on guitar sites like TDPRI and Strat-Talk is Ron Kirn, a master builder of solid body T-type and S-type guitars. In his experience how an inert piece of wood may sound all on it's own as a body or neck blank bares very little comparison to what happens when it becomes part of the overall tonal system that is the finished product. There are just too many variable involved to predict it reliably.That's interesting.
On the one hand, I wouldn't contradict Mr. Dingwall in his area of expertise. On the other hand, he got people to pay $2,500 for an imported bass, so I expect salesmanship in anything he says. If he has demoed his little saddle-tapping experiment in a controlled environment, I couldn't find it quickly. Randall Wyn dropped pieces of wood on his shop floor to demonstrate the different sounds they made, but the pieces were all different shapes/sizes.
I'm interested less in what's observable, and more in what's predictable. It's cool that some people can discern differences in two different basses. But can you extend that to reliably select materials for achieving a tonal goal? Will the differences even be meaningful after EQ or a mic'ed cabinet?
How much better are their bass strings? I used EB Slinky guitar strings long ago and they were awful.I like Ernie Ball strings much more than I like D'Acme strings.
How much better are their bass strings? I used EB Slinky guitar strings long ago and they were awful.
There was just no "fight" in them at all and the tensions across the set were all over the place. I've never used them since. I will use D'Addario guitar strings but not their bass strings. They come stock on most Fender/Squier basses and maybe G&L uses them as well and they're the first thing I replace after having done some fretwork if needed.
I've been considering trying a brighter set of flats on my Kilo than the LaBella DTF set I have on my PBass and the GHS Brite Flats did not like that bass at all so I settled on Pressurewounds long ago. But now that my Jazz Bass also has Pwounds it may be time to try some flats on the Kilo just to see how I like them.I'm using EB Group IV Flatwounds on My 'Ray. String-to-string tension and tone is even. The Group IV are the lightest, and have low (~148 pounds) pulling tension, but are reasonably stiff under my plucking hand.
The truss rod on this 43 year old instrument isn't good for much more pulling tension, so the strings stay right where they are. I find the "toan" of the Group flats is somwhere between Cobalt Flats and Deep Talkin' Flats. Kind of like Dunlop flats that way.
TI Jazz Flats don't fit any bass I own.