I know that there are several of us around here. Let's get to know each other as more than just a bunch of godless people. Tell us all a bio and some other stuff.
Of course it is on me to start.
I play bass and keyboard. Mostly 60's and 70's in the blues/progrock genre. Sadly, the keyboards are all in storage ATM but they will be coming out when I get a handle on my spring cleaning. As for the bass gear, I have this list:
Peavey Millenium 5 BXP. Stock J+J pickups and Elixr nanoweb strings.
Fender four string. I can't find the actual model number despite the fact that the serial number is trivially traceable. Odd, yes but it is what it is. What I can tell is that it is a late 90's Japanese item. I got it really cheap because the last guy did not know what he had and he let it suffer a bit. Replaced the strings and tightened up stuff and it is now worth probably five times what I paid for it. Currently running a cheap set of flat wounds (as if there is such a thing as cheap bass strings).
Schecter custom 5. OK, I tried every ax in the store and this was the one for me. It is the one that I am playing in most of my videos. Since I did the videos, it got a set of DR flats. Can you make a great instrument better? Yah, put great strings on it.
For amps, I have a few.
Hartke Kickback 15. 120x15 but with a replacement speaker. I got it used with the new speaker so I can't really complain but it is way heavier than spec. Still, it is enough for medium sized rooms with sound dampening furniture. It will cut through reasonable drummers but not Niel Peart fans.
Hartke HA 5500. 500 watt head @ 4 ohms. This is the main power rig for blasting when needed. Active and passive inputs. Tube and transistor preamps in parrallel. The inline compressor does not seem to do much, as if I care at that point. Two equalizers in series (ten band and two band).
I play that with a Genz Bens Neox 2x12 cab @ 4 ohms so I get the full 500 watts if I open it up.
Marshall MG 30 for grab and go stuff. 30x12. Yah, if you look at the Marshall website, you will only find the MG30 in 30x10 form, so I have to assume that I got some type of rare unit here. It will fill small rooms but I doubt that it could handle even a small bar. Actually, the Kickback in a bar would only be useful as a monitor but even so...
The only nit that I have with the Marshall is that it has a really sterile sound coming from the digital part. Even the clean sound is not really alive. Then the crunch is about the same. I know, sterile crunch does not make a whole lot of sense but you have the hear it. Here is a youtube link that might make it fairly obvious:
That much being said, it was only a couple hundred bucks and I can grab it and throw it in the back seat of someone's car when I need to. Since it has the open back, there are a few 80's stomp boxes living there. I suppose that Jim Marshall should be applauded for getting right as much as he did with this but if a grab and go amp needs cheap stomp boxes to get good, then he could have done better.
For rack mount gear, again, stuff.
I have a six space case with rollers and a “suitcase” type of handle for moving it around. In no special order, I have this set up:
BOSS GT-Pro. Front panel connection for axes. Something like 50 stomp boxes built in alog with all the other modern goodies. A whole bunch of effect loop connections so that I can put stuff in parallel as I feel like.
Groove Tubes Trio preamp. Three different 12ax7 tube preamps in one box. Push button and foot switch selectable. Channel one is the pre-CBS fender black face circuit. Channel two is the Fender tweed circuit. Chanel three is an early 70's Marshall circuit. I can also use channel two to predrive channel 3.
A Behringer compressor/limiter. Yah, I know that it is Behringer. Sad panda would apply but for one fact. The day that I bought it, my LMS has three compressors in stock. Two of them were old used units with hardly anything for features. That and the Behringer. That and what really can go wrong with a compressor limiter anyway?
The last space is the power conditioner. I suppose that the fact that it has lights is a good thing but when I move stuff around, I put the cover on first so no settings ever really get messed in moving stuff around. So yah, I have yet to actually use the lights.
The whole deal is pretty much one big box of plug and play stuff.
WOW great analogy!!!! I read a book called teh Psychopathic God. It was about Hitler.
I've got it on my bookshelf, it's by Robert G. L. Waite.....
Jean Chauvin wrote:Anyway, at the end of the conversation, the atheist Pianist had nothing to say.
Somehow, I think you confuse women wishing you'd leave, with having nothing to say to you...Jean Chauvin wrote:She a trained atheist.
She was probably reaching for her pepper spray and timing the distance to the exit...Jean Chauvin wrote:As we got up to leave I said one more thing to her. I told her that next time she plays Bach's Tocatta and Fugue in D Minor, that she pay attention to the philospohy of the music that she is playing.
Now you're giving music lessons, Jean Jean?
You ignorance has no limits.
Bach didn't compose anything for piano, you fool.
Nor did he edit any of his pieces for piano. So, they are open to interpretation on piano.
The piano is a different instrument than the harpsichord, or clavichord.
The harpsichord and clavichord have no pedals.
The harpsichord has no dynamics. It cannot play softer, or louder. Neither can most church organs, so they resort to voicing 'softer' with 'stops'.
To give the illusion of 'softness', passages were edited to be played slower (rubato).
The clavichord has minimal dynamics, and can also also do a quasi 'vibrato'.
As far as Bach's Tocatta and Fugue in D minor, it's been butchered by some of the biggest name organists.
Some play it slow, and legato. Some play it blisteringly fast, and stacatto.Jean Chauvin wrote:She left with a face of distress.
At least we know she is mentally sound...TGBaker wrote:
Art is creativity and craftsmanship not conformity to a traditional format of productivity. It certainly is conditioned by culture. But informs and gives culture new experience and meaning providing an aesthetic for progress.http://www.facebook.com/profile.php?id=1070107766
Unfortunately, musicians like Bach were constrained by the church. Things like ending a piece on a minor chord, or straying too far from the typical ABACABA compositional form, were frowned upon.
The 'sharp' 4 of the Lydian mode, was thought to 'invoke the devil'.Jean Chauvin wrote:Thus Hendrix's music was not consistent as the history of atheism in art and music.
Hendrix was on acid.
Not any different than many classical composers, who indulged in opium.
Nigel Kennedy, one of the most respected contemporary violinists, is a total Hendrix freak