hello,
my rig is an SWR Mo`Bass head with a Goliath III(4x10) cabinet, running in bridge/mono mode 900watts.
I was thinking of changing my cabinet with Terminator cab and W-211, bouth from Warwick. I m thinking compine the 2x10 (of Terminator)with the 2x10 (of W-211) in one channel and the 2x15 (of the Terminator)on the second channel. This will drop my power from 900watts to 400watts pair side.
Is this a big problem? i will loose lots of bottom end? do you think is better to stay with the 4x10 instead?
respect
Low Freak


Low Freak,
I did some research on your purposal and here is what i found. The cabinet you are using and the ones that you are thinking of changing to generate frequencies in the following ranges:

Goliath=40Hz-15K
Terminator=45Hz-15K
211=55Hz-15K

What that means is that the Goliath goes as low as 40 Hz where as the Terminator only goes as low as 45 Hz and the 211 has even less low end response going only down to 55 Hz. However, that does not mean that you would notice the difference in the new cabs even though they don't go quite as low.
What will affect things more than the frequency range is the way that 10 inch speakers react differently than 15 inch speakers. It's not so much that one is lower sounding than the other. It's more that they have different peak frequencies and they respond at different speeds.
10 inch speakers in a 4x10 cabinet configuration usually have a very low frequency range but a very balanced overall frequency response. Because they are relatively small speakers, they react very quickly and tend to sound very tight.
When you put 10 inch speakers in a 2x10 cabinet configuration, you lose a lot of the overall bottom end because the resonation of all of that internal cabinet space is cut in half.
15 inch speakers tend to not go quite as low a 10's but they have a low mid frequency peak that makes them sound warm. They also tend to respond slower because of their increased size and paper mass.
When it comes to speaker sizes, one size isn't better than the other, they just have different properties and you make your choice based on your taste and preferences.
Whether you will like the sound of the Goliath or the Terminator more, i can't say. They will both sound great. But they will sound different from each other. However, i would suggest not adding the 211 to the terminator. The Terminator by itself will provide more than enough volume for any setting and it weighs 135 lbs which is a lot by itself. When you add the 211 you are adding another 55 lbs that you have to move in and out of each venue every time you perform. Personally i don't like moving gear so i try to keep my rig as light as possible without sacrificing tone.
If you are dead set on running four 10's and a 15, you could always add a single 15 cabinet to your goliath. That is essentially what you are doing with this new rig, except that you are putting the 10's into two different cabinets reducing their overall low range. And if you decide to go with the terminator and the 211, that will be fine too. It should all run perfectly well with the Mo' Bass head.
Ultimately, it always comes down to what sound YOU like and what configuration works best for your work scenario. Try all of the speaker set ups in the same room, one after the other and the differences should become clear very quickly.
Good luck with your decision and please let me know what you choose on and how it works for you.

Keep it low,
Timmer

Message: Hi Timmer,
Great site - I've found myself returning to it repeatedly. I currently live down in Salem, OR.

I'm a new bass player (a few months) after playing rhythm guitar for many years (lifelong student - no gigs). Now that I'm actually in a band, I'm on a gear quest, and recently acquired a fender bassman 70 (tube amp) that sounds awesome for guitar, and I want to try it for bass. No bass cabs yet.

One question if/when you get time. It's along the idea of using the bassman for tone, and possibly using a more powerful solid state amp for more volume, using the line out from the bassman into the SS amp. Problem is I think it wouldn't be healthy for the bassman to run w/o speakers attached. But the goal is to have speakers attached to the more powerful amp. Thoughts?

Thanks,
Rick

Hey Rick,
Thanks for the e-mail. It's great to hear from fellow thumpers, even if they are recent converts. I have a gig at Larry's coming up later this year (October?) with the Mesi band and it would great to meet you in person. In my opinion, Larry's is the best club venue in Oregon and Washington right now. The stage is big, the p.a. sounds great, the soundman always does a good job, and the pizza is killer.
You are absolutely right, you do not want to run that bassman head without a speaker. Running any all tube head with no speaker load or an improper speaker impedance load will cause damage to the head.
You can run a cabinet with the head and, as you said, run the line out to another amp to achieve your stage volume. Or, someone does make a power soaker that you plug the head into like a speaker cabinet. The power soaker takes the current just like a speaker cabinet but it doesn't make any noise. I don't have any more info for you about it but i have heard of people using them. Guitar players frequently use them to drive their heads harder than a single cabinet would allow.
However, I would like to point out that most of that great sound that you are wanting to get from that head comes from the power tube stage at least as much as much as from the preamp stage. By using it solely as a preamp, you may be disappointed by the sound you end up with. As they say, your results may vary. But it definitely is worth a try.
Let me know how it works. Hope to see you in person later this year.

Timmer

Hey there Timmer, I'm one of your newest fans, and a fellow brother in Christ. I live in the Portland area, and hope to catch one of your gigs soon. My question is in regard to scale length. Are your Warmouth customs 34 or 35 inch scale? I play a Lakland 55-01, which is a 35, but I'm not really sure if it makes that much of a difference. I understand the part about higher string tension on a 35, but I have also played 34s that felt great. What's your take? Thanks for all the great info!

Scotty

Scotty,
Thanks for the e-mail. I look forward to meeting you soon. My Warmoth's are 34" scale. You are absolutely right, the primary issue with 34" scale vs. 35" scale is string tension. You don't really notice a whole lot of difference in the string tension from 34" to 35" in four string basses. Yeah, on the 35" scale, the strings might seem a tiny bit snappier, tighter, and brighter, but not enough to make a huge difference. The big difference becomes obvious on 5 string basses. One of the primary concerns when shopping for a 5 string bass is the floppiness of the B string. Because of it's massive girth and required low tension to tune to pitch, some 5 strings just don't play well on the B string. So usually, 35" scale 5 strings play better on the B than 34" scale 5 strings. Now that does not necessarily mean that 34" 5 strings are bad and should be avoided. It just means the B string playability varies from bass to bass and that you are probably going to get better playability from a B on a 35".
There is one other factor to consider too. Prior to my Warmoth's, my primary bass was a Heartfield DR5. It was a 35" scale 5 string bass. While the B string was noticeably tighter and clearer sounding on that bass, it was a bit of a stretch for me physically. I'm average in my height but my arms are a bit short and that extra inch in the reach really did make a difference in comfort over a 4 hour gig. And like my arms, my fingers aren't really all that long. Again, the closer fret spacing made a difference in comfort and playability. So i sacrificed some of the quality in my B string by going to a 34" scale but the comfort and playability that i added made it worth it. Also, while i value the B string and always play a 5, i use the B string far less than any of the other strings so the sacrifice is minimized even more.
It was great hearing from you and i look forward to meeting you in person soon. And of course, all correspondence is always welcome. I love bass talk and making new friends.

Timmer

Hey Timmer,
great site! My name is Bob, and I've been playing bass for four years this month. I'm kind of a thrift hound, always looking for deals on different gear, and then selling the old stuff. Right now I have twice as much stuff as I need, (maybe more), and I was wondering if I gave you a list of my gear if you would give me your opinion of what I should keep, and what I should sell. I have a DPC 1400x (will not part with it), a zoom 506 pedal, two 2x15 EV cabs, a Peavey 410 TXF, a SWR 410t, and a Fender BXR Bass300c combo amp. What do you think is the best combination out of this stuff? And do I need anything else? The way I have been playing is from my bass through the Zoom, then directly to my mixer. Then using the sub-outputs, I run through a crossover, a sonic maximizer, and an eq. Then to two separate amps. The DPC to the lows, (one side 2x15, the other SWR 410t), and an older EV Dynacord to the highs. Would you suggest doing anything different? And is a Zoom pedal the same as having a preamp? Sorry about all the questions, but you really seem to know what you are talking about. I just stumbled across your site,and it has already answered a few questions I had. By the way, I also live in PDX and would like to hear you play. If you got this far, thank you for your time.
-Bob

Bob,
Happy Bass anniversary this month. The longer we play, the better we get. One of my philosophies is "if you wipe your ass long enough, you are bound to get good at it". I attribute most of my abilities to my many years of ass wiping...er...you know what i mean.
I also have a similar gear philosophy to you in that, generally speaking, i don't keep a lot of excess stuff that i don't need. I upgrade or replace what i need to every few years and sell the leftovers when I'm done. The hardest thing to get rid of though is those used strings. No one ever wants to buy em (just a joke). That's quite a list of gear you have so I'm going to break it down in a way that my obsessive compulsive disorder best allows me to view and analyze it.
DPC 1400
Zoom 506
two EV 2X15 cabs
Peavey 410TXF
SWR 410t
Fender BXR Bass 300c combo
I know from the rest of your e-mail that you actually have more gear than you have listed here. There is also:
unspecified unpowered mixer board
unspecified crossover (i assume active)
Sonic Maximizer (BBE?)
Unspecified EQ
EV Dynacord (I believe this is an amp)
I'm kind of going around with myself on the most effective way to answer your questions. I'll start by addressing your current set up. What you have going on now is a very professional set up with lots of tone control options, active bi-amping, buttloads of power (i was going to say tons of power but buttloads seemed to flow better to me) and a full selection of effects. With that said, i say take it apart and start over again. A set up like that has to have some serious portability issues and must take a while to set up and tear down. My primary criteria in gear is (in this order) tone, reliability, portability, flexibility, and cost. I think that you are using more components than you need to and that you can get nearly just as good of a sound with a much simpler set up.
Personally, i think that bi-amping is overrated when it comes to back line bass gear. The benefits do not outweigh the added gear, weight, and expense involved with running a bi-amped rig. It is effective in extremely high volume situations but it also drives the stage volume up which is one of the things i work hard to avoid. Another issue, in bi-amp mode, your amp sounds very different depending on how close you are standing to it. If you aren't far enough away from it, you end up hearing nothing but the highs and you can't always stand 15 feet away. I think that bi-amping or tri-amping front of house mains is a great thing but it's overkill for the bass amp.
So let me see how i would set this thing up if it was my gear. I would start with the Zoom in most cases. I use a Digetech BP8 on trio gigs but i don't bother bringing it on full band gigs. I would replace the mixer board with some sort of bass preamp. There are a lot of them out there and i haven't tried many of them. I have a Peavey Max preamp which is fine. For the most part, they all do the same basic thing, give you tone control on the fly. A tube preamp section is a nice feature in any preamp too because it can broaden you tone choices. I would keep the DPC 1400. It's a great power amp. You get tons of head room and power in a single space unit that weighs very little. It's really the only power amp you need. I may or may not keep the sonic maximizer. I'm not sure, it would depend on how it sounds with the final set up. I used one for a while and liked it, but eventually, i decided it just didn't add that much and got rid of it. Finally i would go with either the 410TXF or the SWR 410t. If I'm not mistaken, they sound pretty similar and have very similar specs as far as power handling, tone reproduction, weight, and size. The SWR probably has a better resale value so i would probably sell that one and keep the Peavey. Personally i prefer 10's over 15's. That is my reasoning for choosing the cabinets that i did. I like 15's in some settings but overall, 10's work much better for me. 15's just respond too slow and their focus frequencies are out of place for my tastes. I would also keep the Fender BXR as a backup amp or to use on smaller venue gigs and rehearsals. I would probably get rid of all of the other stuff. I would also add one more thing. You didn't mention any tuners and I'm sure you have a few in addition to one being in the Zoom. I would probably add a Korg rack mount tuner. It's nice to have one plugged into the system for checking tuning in the middle of the set without having to unplug anything.
With all of that said, i want to be sure that you keep in mind there is no right or wrong answer. The reason i chose to set up your gear like i did is based on the fact that i play in 3 to 7 different venues each week. I move the stuff around allot. So portability is a big issue for me. Set up time is a big issue for me too. I would have all of the rack mounted stuff in one SKB rack already plugged into itself as much as possible so when i get to the gig, i just pop off the face and back, plug a guitar cable in the front, plug a speaker cable in the back, plug it into the wall, and start thumping. Your needs and the way you use your gear may be very different than mine.
It's obvious that you have spent a lot of time perfecting your current set up. I respect people who are constantly trying to improve themselves. I hope that my response was informative or at least entertaining. And i hope very much for an opportunity to meet with you in person in the near future. I'll be at The Spot in Vancouver this Friday and at the Trails End in Oregon City this Saturday. If you are out and about, please drop by and say hi. If you can't make it out this weekend, keep an eye on my schedule and pop out when you have a chance. And feel free to e-mail me back, more questions, a simple piss off, or just a howdy how's it hanging. I enjoy the dialogue and it makes me feel like i have friends.

Take care,

Timmer

Timmer,
I just want to ask you if you recommend the Peavey 210TX combo, and if you've had great experience with it. Does it have issues I would have to beware of, and can you compare it to the Eden Metro combo?
Thanks!
Beau Hellam

Beau,
I have a 210TX cab and i love it but it's not a 210TX combo so i went to the Peavey web site to do a little research. What i found is that they are no longer listing the 210TX combo in their inventory. But not to fear, i did look into one a few years ago so i am acquainted with it. The 210TX combo is basically a 2X10 cabinet with a single or double rack space built in and a head included. When i looked into them, they offered either a T-max head or a smaller 200 watt (?) head. Let's start with the cabinet and speakers. The 210TX is a great 2X10 cabinet. It produces a very large range of frequencies so you get a very nice, contemporary tone from it. The horn level is adjustable so you can lower it's volume and get a flat old school tone if that's what you are looking for. I have had my 210TX for around 7 years and i have had no problems with it. I did blow one of the speakers a long time ago but it was very inexpensive to replace and it was probably my fault for pushing it too hard with too many watts. I do find with the TX series that over time the speakers dry out a bit and lose a little bit of their range, but it's not that noticeable and it's not that big of a deal. I think that you are probably going to find that with any speaker as it ages. The only less than great the about the 210TX cab is that it lacks a little bit in the ultra low range. Of course, that's compared to a 4X10 cab, not compared to another 2X10 cab. I have played through the Eden 2X10 cabs on a few occasions and found them to be very comparable to the 210TX in all aspects other than price.
Now the head that comes in this thing does make a difference. The T-max head is a great head rated at 500 watts with a tube pre-amp, graphic eq, and the usual other stuff. It is a pro level head and one of the best sounding heads i have ever heard. I used one for many years until i replaced it with a Kilobass head which is pretty much the same thing with two 500 watt power amps instead of one. The T-max was discontinued about four years ago. The other head that they put into those things was quite a step down. It worked fine and was very reliable (like most of the Peavey stuff) but it didn't have quite the sonic range or power that the T-max had. A very good head but probably a little less power than i would want in most club settings.
I haven't used the Eden Metro but i did look it up on the net. It looks like a very nice combo amp. The power seems appropriate for almost any situation and I'm sure that, like most eden stuff, it sounds great. The only drawback that i see to it is the $2000 list price. I found it on the net at musicians friend for $1600 not including shipping. That's a lot of money for a combo amp. You could probably buy and Yorkville 400 watt rack head and 4X10 cabinet for less than that. If you are committed to a combo, the Peavey BAM 210 is much more comparable to the Eden Metro and lists for $400 less. You could probably pick one up for something like $1250. But if we are dealing with used gear that is somewhat of a different story and i am inclined to think that we are since we are talking about discontinued Peavey items.
So, here how it breaks down in my book. The 210TX combo with the T-max head is probably the best choice if you have that option. It's probably cheaper than the Eden and the BAM 210 and probably sounds a little better. The BAM 210 is the next best choice. It will probably sound as good as the Eden at a much lower price and it has several amp and cabinet models built in and a slew of digital effects. After that comes the Eden Metro. It will beat the 210TX combo without the T-max head hands down. And it will be worth the difference in price. And finally, in last place comes the 210TX combo without the T-max head. A great cabinet and a reliable rig but the head is probably not enough for allot of situations. This last choice is probably the most economical of the bunch and sometimes what we get is dictated by our economy.
I hope that helps. Let me know what you decide on and how you like it.

Good luck,
Timmer

Timmer,
I'm a bass player in Seattle that needs to spend a little more time getting to know his gear. I play a Jazz, and go through a Hartke 2000 (200 watts. The back says 8ohms=120 watts, 4ohms=200 watts) into a Fender BXR Spectrum (1X15, 2x10). My main question is-Am I under powered? The second question is on my set up.-the BXR has a crossover and I'm not sure how to set up for max performance. Right now I am running two cables from the Hartke (which has only 2 outputs, both marked 8 ohms), one to the low range plug, one to the high range on the BXR cab. The cab also has a "Full range" input. The cab says 4 ohms every jack, rated to 300 watts.
I dont really understand the
watts and ohms aspect of amps. I am generally okay with the set up but I want to maximize the equipment.
Any info or tips on would be appreciated.
Thanks.
John


John,
Howdy, it's nice to hear from a fellow thumper located so close to me.
Seattle is a great city and I love playing there. Their blues scene used to
be really strong but has dried up quite a bit over the past five years and I
just don't get up there as often as i like anymore.
Your fist question is, at 120 - 200 watts, are you underpowered. With
all of the information that you have supplied, my first impression would be
that you are not underpowered. Most jazz gigs are low volume scenarios and
most pro jazz musicians play with a lot of volume control so you don't
really need massive power to find your place in the mix. In most cases,
when a jazz combo needs more volume for a larger venue or an outside
performance, this is achieved with a p.a. so even in a big venue i would
think that you are not underpowered. I would even go as far as to suggest
that you could get away with a much smaller, lighter speaker cabinet. I
think that you could still probably get the quality of tone that you need at
the volume that you are usually working at with a good single 15 with a horn
cabinet or even a 2x10 cabinet. I have some pretty specific opinions on the
value of head room but I'm not going to get to them right now. It will
probably take you all day to read what i am going to write by the time i
finish all of my random and wandering thoughts.
Your second question is how do i set the crossover on my cabinet for
maximum performance. I am going to go ahead and define things on a bigger
level to help you find the answer. If i cover things that you already know,
please forgive me. It is certainly not my intention to be condescending.
Different speakers reproduce some frequencies more effectively than other
frequencies. By removing the frequencies that cannot be effectively
reproduced by the speaker, the speaker works more efficiently creating a
cleaner sound and more efficient use of power. An adjustable crossover
allows you to choose at what
frequency the signal will be divided and rerouted. I'm going to assume that
the crossover adjustment dial is marked to indicate what frequency you are
crossing over at. I'll assume that, turned all the way to the left
indicates that you are going to cross over at 250 Hz. Turned all the way to
the right indicates that you are going to cross over at 2K. And straight up
indicates crossing over at 1K. If we set the crossover adjustment at 1K,
then on the tweeter part of your cabinet (the two tens), all frequencies
lower than 1K are going to be removed and on the woofer part (the 15) all
frequencies higher than 1K are going to be removed. So now the tens are
only reproducing frequencies above 1K and the 15 is only reproducing
frequencies below 1K. Between the 10's and the 15 we have a full
representation of all of the frequencies and now each speaker is focusing on
the range that it can best reproduce.
15's tend to reproduce low mids best (around 400-500Hz). They do well
with the real low stuff too (200K)
but they don't do much in the higher ranges (1.4K and up). 10's actually
reproduce frequencies in all ranges
very well for the most part with a strong focus in the mids where most of
your punch is (900Hz).
I find that they start to fall off in the ultra high ranges (2.5K). So,
with all of that in mind, and without
being there to listen to the system, i would suggest setting the crossover
somewhere around 800Hz.
This should allow both the 15 and the 10's to reproduce the frequencies that
they are best at.
However, ultimately the deciding factor is going to have to be your ears.
You can never substitute science
and numbers for ears. It will always come down to what your ears tell you.
Another note on this same subject (as if i haven't thrown enough out
already); If you plug your
head right into the 4 ohm input, the cabinet will then (i believe) use a
pre-programmed crossover
point...the point that the designers thought it would sound best at. The 4
ohm input jack should be
wired to remove the unwanted frequencies for both the 10's and the 15. And
unless it sounds like crap
running it this way, this is the way i would go.
Now, let's talk about ohms. I will be as brief as possible. Ohms is a
measurement of resisitance. The higher
the ohm rating, the more resistance. I like to think of it like pushing
water through a pipe. A 4 ohm pipe is larger
around than an 8 ohm pipe so the water flows through it much easier.
Because of this concept, solid state amps
put out higher power levels at lower ohm ratings. That's why your amp says
120 at 8 ohms and 200 at 4 ohms.
When you use multiple cabinets (or in this case multiple jacks) you
either double or half the ohm rating of the
two units depending on how you plug it into the head. If you plug your head
into cabinet A and you plug your head
into cabinet B and both cabinets are rated at 8 ohms, your head will see a 4
ohm load. This is called running parallel (the speaker wires run parallel
to each other on the floor).
However, if you plug your head into cabinet A and you plug cabinet A into
cabinet B and both cabinets are rated at 8 ohms,
your head will see a 16 ohm load. This is called running series. The ohm
load stacks up as you plug one cab into the next.
Mostly, we want to run multiple cabs parallel to get the lower ohm rating
and allow our head to work more efficiently and reproduce the most power
possible. But there are exceptions to this. Most heads list a minimum ohm
rating...the lowest ohm load recommended to use with that head. If you use
a cabinet or combination of cabinets that have a total ohm rating lower than
that recommended minimum load, you will most likely blow that head up. Boom,
poof, some noise like that. Therefore, for example, you wouldn't want to
run two 4 ohm cabinets parallel into a head with a 4 ohm minimum rating. In
that case you would want to run them in series. With that said, most heads
have a 2 ohm minimum rating although it's not a set rule. And the lowest
rating i have ever seen on a cabinet is 4 ohms. So overall, you are
probably pretty safe in most settings but be aware of the ratings.
One last thought on this part. Earlier i mentioned that solid state
amps put out more power with lower ohm loads. This rule is not true with
tube power amps. Just to be sure you know, I'm not talking about heads with
a tube preamp section. I'm talking about all tube heads that use tubes in
the power amp section. Tube power amps are set to run at a specific ohm
rating and the ohm load that the amp sees should not be more than or less
than that rating. It should match exactly. If the amp is rated at 8 ohms,
us an 8 ohm cabinet or a combination that equals 8 ohms. Not matching the
impedance can damage a tube poweramp and they are usually pretty spendy to
have serviced.
Well, i think i covered everything that you asked about and 200 things
that you didn't. I hope this helps and feel free to e-mail me with requests
for clarification on the stuff that i explained really poorly. I won't be
offended and i figure it's part of the learning process. It certainly was
for me. And if you are ever in Portland, check my web site and drop by a
gig. It would be great to meet you in person.

Take care,

Timmer

12/10/03
Hi Timmer, we've "spoken" a couple of times about my Peavey Max pre-amp. I'm
having a couple of problems and I would appreciate your advice. I run the
Peavy into an Alesis Matica 900. Right now it is bi-amped, sending 275 wats
to a Fender 2-10 and a Yorkville 15. I just bought a G&L L-2000 from John
Payne of Asia. Great guitar ... but very hot. In fact, my Alesis is
clipping. I have had to tame the G&L quite a bit and I have set the
pre-gains on the Peavey to about 25%. I still clip sometimes, especially if
I use the punch feature. How do you set your Max? Do you ever have a problem
with clipping?

I am thinking about going with a 4-10 as my only cabinet. This weekend I
will be trying a SWR Workingman's 4-10. I am afraid this will not give me
the bottom I like for blues, but I see you use a 4-10 on it's own. I will
know by Saturday if I like it, but I would be interested in hearing about
your experience with a 4-10 vs a 6-10 or a 15.

Thanks for your time.

Dave

What's up Doc,
Sorry, it just felt right. Ok, i want to be sure i understand the
problem as stated. The new G&L (great basses) has a very hot output. I'm
assuming that it's active. Now, with the new bass, your poweramp (not your
Max pre-amp) is clipping.
Ok, if the PREAMP was clipping, it would directly be the result of the
basses signal being too hot. If that were the case, i would recommend
simply activating the -10bd circuit (that little button next to the input
jack) to lower the input coming into the preamp. If there was still a
problem with the preamp clipping, you could lower your pregain settings on
the amp. You also may be able to adjust the bass output level with a screw
in the bass preamp cavity. There are frequently a few user adjustable
controls in there, check your owners manual for details.
However, you state that the problem is the power amp clipping. The
power amp clips because it's getting too much signal from the preamp or
because of the impedance that it is seeing from the speakers. One question
that comes to mind is does the power amp have an input sensitivity dial and
if so, what is it set at? You should run your power amp wide open in most
cases and use the preamp for setting your volume. If the poweramp is just
to powerful to run it wide open, you can turn the sensitivity down, but in
most cases, you want your power amp at full power and your preamp not
pushing as hard. Since the clipping issue is new and relative to the G&L, i
don't think it's an impedance issue so I'll leave that one alone for now.
My Lane Poor pickups have a very low output so clipping has never been
much of an issue for me. In fact, i usually have the opposite problem in
that soundmen want me to find a way to boost my signal for the d.i. I'll
get around to getting a preamp in the bass someday. Anyway, i run my max
with the pre levels at around five and the post levels at around 3 of 4
depending on the room. I run the DPC 1400 all the way up and in bridged
mono mode. When i first got the Max, i used the punch button most of the
time but after a while, i got the e.q. where i wanted it and left the punch
off.
In 2001 and 2002 i used a Peavey 810TX. The band i was with then was
kinda on the loud side and the instrumentation was a trio format so i had a
lot of space to fill. I've been with Jim Mesi since the beginning of this
year and i have found that i only really need 4X10. I usually don't care
for 15's because of their slowness although i played through an Ampeg 15
cabinet with a horn that i really liked a lot not too long ago. I have
found that, except in extremely high volume situation or outdoor settings, a
4X10 is enough to do the job and puts out plenty of bottom end. To my
taste, the 4X10 really has the best balance of highs, mids, and lows. The
6X10's and 8X10's really get a little more bottom heavy than i like and i
end up e.q.ing a lot of highs and mids in. I think that the best tone i
ever got was when i was running a 4X10 and a 2X10 together. The 210 really
lacks bottom but has a good focus on the mid and highs and the two cabinets
worked together to really cover all of the frequencies perfectly. But, I'm
working on lightening my load in total so i dropped the 2X10 and the tone
difference is only minimal.
Blah blah blah blah blah, i feel like i wrote a thesis in reply to your
simple question. I hope it didn't get too long and drawn out. And i hope
it helps. If i missed the problem, let me know and let me know if any of
it's helpful.

Happy Holidays,
Timmer

Hey Timmer,

No problem with the "what's up doc." I hear it all the time. But that's
okay. I have a big backyard and a shovel.

Thanks a ton for your response ... very helpful. It is the power amp that is
clipping. I do run the Alesis full on. I think I just have things set too
hot going in to it. The pre-gains were at 5 and the punch was in. I don't
use the active feature of the G&L, but I do dial in some bass boost. And I
am asking the Alesis to drive a couple of low end cabinets. This weekend I
am going with a good SWR 4-10. It sounds like you are happy with a 4-10, I
think I will be also ... definitely less to lug around. Our band has
included sax and/or keyboards, but currently we are gigging as a trio. I
like having the extra room to move, but it does call for a bit more sound
from my amp.

Thanks again for your advice. If you don't mind, I will let you know what
happens.

Cheers ... and have a great holiday!!

Dave

Dave,
Please do let me know how the 410 works out and if it's enough to cut it
for you. I'm always interested in other peoples experiences with different
pieces of gear. It helps me maintain a broad perspective.
I'm still kind of bugged by your power amp clipping. I would think that
with an amp of that power level, if you pushed the amp so hard that it
clipped, it would be too loud for any practical purposes. Sure, if you dial
down the output of your preamp out, it is definitely going to reduce the
clipping factor. But i have to wonder if you are getting full power from
the amp.
Now we have to get into the ohm stuff. Are your two cabinets rated at 4
ohms or 8? If they are 8 ohm cabs, that might explain how you can clip the
amp and still not be too loud. As you probably already know, at 8 ohms per
side, the amp will probably be putting out only a little more than half of
the rated 900 watts. That would explain how you could be clipping it. One
other option that comes to mind is, over time, speaker cables can lose their
ability to transfer power. I had a friend with a Trace Elliot system that
over time began to sound like crap. He thought the head was going or the
speakers were dying but it turned out that his speakon cables had just
deteriorated over time. He replaced them and the whole rig sounded as good
as new. Just another thought.
Keep me posted on stuff and let me know how you are liking the 410. I
look forward to your e-mails. They cause me to think about stuff.

Later,

Timmer

Hi Timmer,

I also enjoy swapping tips and info. I've talked to enough people about
things over the years to learn that nobody knows everything, but everybody
knows something. So here's how it went with the SWR 4-10.

This cabinet made an immediate difference. The sound was awesome!! In fact
at one point during our first set, I looked down at my foot because I though
a fan or floor vent was blowing at my pants. Wrong! It was the air being
pushed by the SWR. Even at low volumes, the sound was clean and clear with
incredible low end punch. My biggest concern with the 10's was that I would
lose the bottom end I had with a 15. Wrong again. I had intended to try a
few 4-10's as another local shop has 2 Ampeg's that look pretty good, but I
am so impressed with the SWR I will probably stick with it.

As for the clipping, I figured out part of the problem. I was using a DBX
compressor in the effects loop of the pre-amp. I pulled it out and the
clipping almost disappeared. That and a few more tweaks of the Max and I was
able to run all night with no crapping out. The clippings led's were
lighting up a little but my volume was there. I will definitely replace the
speaker cable. The one I am using has been around for a while.

Do you use any compression?

Thanks for keeping in touch.

Dave


Dave,
That's about how i figured it would go with the 4X10. I used to use a
15 with a 2X10 cab and when i pulled the 15 and added the 4X10 i was amazed
at how much bottom i gained. Different speaker types just have different
frequency focus points and i think the 10's in a larger cab have a nice peak
on the low end where the 15 peaks more around the low mids.
I'm glad you got the clipping worked out. I would have never guessed
the compressor as the culprit. You just never know how some things are
going to react with others.
No, i never use a compressor live. Occasionally I'll use one while
recording, but it usually ends up getting bypassed because it's just not
needed. I like to play very dynamically and i have a lot of volume control
with my fingers. I find that a compressor takes a lot of my dynamic control
away from me. I imagine if i was a big slap player, i would probably use
one quite a bit, just for the limiting aspect. I always lose a little
control of my volume when slapping. But i don't do that much so i just
haven't had much need for one. Although, i do have a digitech BP8 that i
use on trio gigs. It has a few preset patches that use the compressor in
conjunction with some other effects. The compressor really does make those
effects work right, but they are pretty much specialty patches, not stuff
you would use most of the night.

That's it for now. Be safe and have a great holiday.

Timmer


2/20/03
Timmer,
Really great site....I enjoyed reading the different postings, and the site was definitely easy to navigate. More impressive was your "open" tone in your dialogue. I have been a student of the bass line going back to my freshman year in high-school when I was converted from trumpet to tuba. I play Gospel music, with a personality that crosses jazz, and a host of other moving genres. The question I have is about "gearing" up. Even though I have played off and on for almost 7 years, I have never owned my own equipment. I am now ready to invest in some, and I am at a loss....so much to chose from...the Gospel group I play for is Peavey down...with everything from amps to speakers...to microphones. I am a believer in Peavey endurance and quality....but I have not been exposed to Peavey bass gear. I play out of an original Kustom set up with a 2X15 cab...I was wondering what the difference is between the Peavey 4X10 and the 4X12...I mean I am used to thundering lows with the 15s...will the 10s give me that....and what about the 12s...now I like the firebass head...so what do you think? I appreciate your sharing what you know. I guess I must be the only musician that has had terrible experiences with the bass "gods"...who don't won't to show, or share anything....and laugh when you fall on your face...
Grant

Grant,
Thank you so much for the e-mail. It's always great to chat with other bassists, and even more so when we have Christ in common.
Let me start by saying that the original padded Kustom amps are way cool. The first great sounding bass amp i ever played was one of those.
The difference between the 4x10 and 4x12 cabinets is going to be subtle. I think the 12's have a little more low-mid response, slightly higher power handling capabilities, a little more volume output, and about 15 extra pounds. They are going to respond slightly slower than the 10's, a little more like a 15. And they are going to be a little less transparent than the 10's. The 10's are going to be slightly tighter sounding and may actually have a little more low end response. They are going to be a little softer in the mid freqencies, but not much. I think the 4x12 cab is a little more expensive and if you are looking used, the 4x10 is going to be easier to find because there are a lot more of them. Also, if you are looking for used, be aware of the difference of the 410TX and the 410TXF. The TX is rear ported and has a crossover at 3500 K and the TXF is front ported and has a crossover at 3000 K. I like the TXF a little better, but again, the differences are subtle.
Personally, i prefer the 410TXF over the 412TXF because of the speaker response and the transparancy of the tone. But the 412TXF is going to be closer to the 15's you are used to. It's all a matter of personal prefference.
I hope that helped a little. If you want me to ramble on some more, just let me know. I would be happy to talk about amps too if you want.
I don't know if you found Bass World at the Geocities server or at the Timmer Blakely server. http://www.timmerblakely.com was just finished today. That will be the best place to go for future reference. I just happened on the aol deal today as a backup because i'm doing some network rewiring at home and my broadband connection is down.
Thanks again for the e-mail. Let me know what you decide on and if i can offer any more info.

Timmer

2/24/03
Timmer,
I really appreciate your reply....it is refreshing to talk to someone who has a passion for playing as well as an understanding of life. Man, where have you been for the last 7-8 years. Anyway you really gave me somethings to think about....I was wondering if you had any idea to start with in terms of getting the Peavey 410 TXF....I am looking for used...but if I could find a good deal I would buy new...also I am looking at the Firebass 700 head...what do you think about that combination?
I am located in the southeastern US....like I said I am alreay sold on Peavey as a producer of fine equipment with a high standard for quality. I appreciate your site...it is great and I will be a frequent visitor.
PS...man your band is nice....
Grant

Grant,
Thank you so much for all of your kind words. I really do appreciate the feedback on the web site and stuff in general. I made the web site to promote myself on a professional level to increase my name recognition and to positively affect the music community in which I work and live. It's nice to know that at least one of those objectives are being accomplished.
In my area (Portland, OR) the best way to locate used music products with the best prices is through a weekly publication called Nickel Ads. They are distributed free all over the place and run all kinds of personal adds for all kinds of different items. They had something like it in California when I lived there called the Recycler. I don't know if they have anything like that in your area but that would be the first place that I would look. Newspaper classifieds are another good place to look. If you can't find one in those places, your next shot is gonna be music stores. A lot of stores take in trade in's so you can sometimes find some good used stuff. I do not recommend pawn shops for three reasons. Their prices, in my experience, usually aren't that great. You can never be 100% sure that what you are buying isn't stolen. And I don't like to support businesses that take advantage of people. In my opinion pawn shops really take advantage of people in need. You can try online resources, but I haven't used any so I have no recommendations there. Also, remember that you usually have to pay for shipping. These cabs weigh just under 100 lbs so it costs a bit to ship it.
Sometimes, you run across a floor model Peavey cabinet that has been sitting on display for a long time and is greatly marked down. For any new cabinet, you shouldn't pay more than 80% of the MSR list price. No matter what price it's marked, don't pay more than 80% list. If the store won't deal, go somewhere else. That goes for most stuff you buy new. There are some exception, but most things can be purchased for 80% of list or less. Remember that when you buy your head if you go new. You should be able to find a few of the TXF's because they are produced in pretty high numbers. They are pretty common, at least in my region.
I have read good reviews on the Firebass so I have no reason to believe that it's not a good head. I think that it is the highest powered head that Peavey is currently producing. They have really reduced their bass head lineup. If you go used, I highly recommend a Kilobass if you can find it. It's 500X2 watt (1000 bridged) poweramps so you can run stereo, bi-amp, or bridged mono without having to purchase a crossover and additional power amp. You probably won't even consider those things now but some day you might be interested in them. The Kilo has digital power amps which means that they weigh about 1/4 of what a solid state amp weighs. It has a tube preamp and a solid state preamp so you have to different sounds to work with. So that's my recommendation.
Take care and keep it low,
Timmer

9/26/00
hey timmer.
i was bopping around and came across your site. i wanted to ask you about your warmoth bass i'm thinking of getting the parts from them for their 8-string bass. what 'ya think?
thanks,
jon

Jon,
I haven't seen the parts for their 8 string model but if it's anything like the ones i have, i'd say you can't go wrong. The quality of the Warmoth parts that i have is absolutely outstanding. I can't say enough good things about Warmoth.
The finish on my bodies that were done at the Warmoth factory are great. They did the stain job and the finish and it is flawless. The necks are solid and entirely free of dead spots. The fretwork is clean, even, and smooth. And i'm going on three years now with out having to make a single truss rod adjustment (and that's after thousands of miles in busses, cars, vans, motor homes, and planes in all different kinds of climates). Both of my necks have a satin finish that feels very clean, smooth, and fast.
In case you couldn't tell, i absolutely love my basses. I recently made a trip to one of our local guitar centers. I tried out nearly 70 basses ranging in price from $800 to $3,800 and couldn't find one that i liked more than the two that i already have. I think you are going to be very happy with your Warmoth 8 string. Let me know how you like it when you get it.
Timmer

9/6/00
Hi Timmer,
First of all, congratulations with your outstanding website. This site has been the starting point of many of my surf hours.
I have this question about getting a particular bass sound. I play in this rockband where they are used to a bassplayer with a warm, Lenny Kravitz-alike bass sound. Their gear was a Danelectro Longhorn bass on a Fender Bassman 100. I have a MusicMan Stingray5, a Fender Jazz Deluxe V (made in Mexico) and an SWR SM-400s top with 4x10 Goliath cab. I tried and tried with the Stingray at first, and the Fender afterwards, but they really insist on me playing through the Bassman (my sound is too crisp and metallic to them). Only problem there is that for me the Fender amp sounds a lot like cardboard. I tried cutting the highs and mids of both my basses, but couldn't get near the Bassmans sound.
Do you have any suggestions on getting the Kravitz sound on my gear, so that I can play comfortably and the guys get the sound they want to hear ?
Sincerely,
Herwig

Herwig,
Thank you very much for your compliments on my site. It's a great feeling to know that something you created is being utilized and enjoyed by others.
Regarding your question, there are two items that will hinder me somewhat in giving you a complete answer, but fortunately, you have provided enough information for me to work around these items. The first item of hindrance is your reference to a Fender Bassman 100. Unfortunately my knowledge of the Fender product line is limited so i don't know if this amp is a new model, vintage model, combo, freestanding head, solid state or tube amp, and what kind/size speaker(s) you are using with it. The other item is your reference to a Lenny Kravitz-alike bass sound. While i like Kravitz and have heard him on radio and t.v. (heck, i even saw the VH1 documentary on him), i don't own any of his c.d.'s and i can't quite recall the bass tone that he has in his band. I apologize for my deficiencies but i believe that we can still make some valuable conclusions with the information that you have provided.
All of the information that you have provided leads me to believe that they want you to have a very vintage, low-mid punch type sound with minimal high end definition. The type of sound that you would find on old R&B records. I am going to base my response on this assumption. If it turns out that i have assumed incorrectly, please disregard all of the following, set me straight, and let me try again.
Unfortunately, the Stingray is probably as far from the sound that you are looking for as you can get. The only thing that might be further that comes to mind would be a Rickenbacker. The ideal bass would probably be a P-bass with passive pickups or (as you stated in the example) a Danelectro type bass with a decidedly low-fi type of tone. The closest that i would think you could get with the basses you own would be the Jazz bass with the bridge pickup turned down all the way, the highs almost completely dialed out and the mids mostly dialed out on the bass (i'm assuming that the Jazz Deluxe is active, yes?). One last thought on the basses, flat wound strings might help a lot in getting this sound. But if you make the change, be ready to adjust your neck. They frequently have a much lower tension than round wounds.
Your SWR head should be fine for the task at hand. The only relative differences between the Bassman head and yours would be if the bassman head is an all tube head and/or if the tone they like so much is partially a result of distortion coming from the bassman due to it's low power rating. If the Bassman is an all tube head, there isn't much you can do to compensate for the difference between it and the SWR. Tube heads have a low end warmth that i have never heard simulated by a non-tube head. It's just one of the differences between tube and solid state. If this tube warmth is the primary issue, you may just be stuck having to buy a tube head, and they aint cheap. If the distortion is a factor, you may be able to simulate a similar sound by cranking the pregain on the SWR to a clipping level and dropping the master volume. This should develop some subtle distortion. Whether it's what you are looking for remains to be seen, though.
And finally, the cabinet. Does the Goliath have a horn and is it adjustable? If yes, then start by dialing it completely or nearly completely out. That should get you a whole lot closer to the sound that you (or they) are looking for. If you still have too broad of a frequency response, you may have to resort to buying a cheap 1X15 cab. As much as i hate to say it, the Peavey 115BXBW has a pretty narrow frequency response and might provide the final missing piece to this tonal adventure. And at least they aren't expensive.
Now on to the preaching part. Are you sure this is the right band for you? Don't get me wrong, if Polka bands were paying $300 a night per man with five shows a week, i'd change my tone however was needed to oompah my ass to Poland and back in a heart beat. However, barring those extreme financial considerations, my tone stays set where I like it. Obviously, i make changes to fit the environment and genre (and a studio gig is a horse of a completely different color), but mostly my tone remains a hi-fi representation of all of the frequencies in the spectrum (it sounds like yours is very similar). And that's one of the reasons people hire me. You don't marry a woman who's personality you hate but plan on changing. You find a girl who has a personality that works with yours and you grow together (how romantic, today is my eighth wedding anniversary and my wife would be so proud right now). Obviously i don't know all of your considerations in deciding to join this band. I do, however, know that the tone you like isn't the tone that they like. And unless the compensation in what ever form is high enough, this is going to result in tensions.
I hope i at least got close to what you are looking for. Let me know if and how i missed and tell me all about this band and your reasons for committing to them (if you feel like it).
Good luck and hope to hear from you,
Timmer

9/16/00
Hi,
Wow, such a long answer ! Thanks for your time and information ! First you asked about the Bassman. Well, it's an all-tube (don't know the Watts) head, vintage (very late sixties) with a 4x12" cab, of which the speakers are placed in a strange position. (let's try to describe this) Try to picture a pyramid, with each speaker placed with it's front faced down on each side, and then put the pyramid into a cab in such a way that you can see the fronts... As for the "Kravitz" sound... it is indeed the *really*vintage sound you describe.
For the moment I settled in with the (active, 3b EQ) Fender bass and the bassman. I put lots of bass, no mid and a bit of highs to keep the fret rattle audible to me, but not to the rest of the band, to force me to keep playing with good technique. I noticed I played rougher, with a lot of fret noise when turning the high all the way down.
The Danelectro bass is still a big no-no for me, as it is incredibly unplayable (very narrow neck and short-scale, and me having rather big hands) I haven't tried using only the neck pick-up, but I also figured out it's the P kind of sound I'm going to need... I'll try it today at rehearsal.
Concerning the choice roundwound vs. flatwound : I put on a really old set of roundwounds and got quite the sound I was looking for (hardly any sustain and all the brightness gone) And the SWR top and cab, well I tuned it for my double bass which I need in a few tunes as well.
Oh well, as far as the sound goes, I might change it again when next week the producer comes (a British guy - I'm from Belgium, Europe by the way ) and maybe he tells me we need a Yamaha Patitucci 6string sound :)
I understand what you 'preach' me about wheter this is the right band for me or not.
I know now the music we make is not a 100% my thing, but I'm still really young (22, music student) to decide what then "my thing" would be. I'm sure I have to change some things when we really start the recording, but for now, I've got the band leader off my back, so I can concentrate on rehearsing and learning to lock (I didn't knew there could be that much space between a drumkick and a bassnote :)
And in between, I do some gigging with Top40 bands as a stand-in, and it feeds my ego when they like my regular hifi sound :)
Anyways, lots and lots of thanks for the detailed information you provided me ! On this adventure I learned a lot about being flexible in sounds and ways of playing, and I know I still have to learn a lot.
(PS do you have any experience with Lakland basses ? It's hard find any in this region of the planet, but I heard one once live and seen and heard alot about them ... seems some crossover between a really old Fender and a musicman ... quite expensive though)
Kindest greetings,
Herwig Scheck

Herwig,
Sorry for the long answer. Sometimes i start typing and just can't shut it off. One thought leads to another and so on. I appreciate you taking the time to read while i babble on.
It sounds like you got the problem solved. That's the most important part. I was worried that the bassman was a tube amp. That's probably what the band liked so much about the other sound. They just have this warmth that is amazing.
I agree fully about the Danelectro bass. They are great for that very specific sound or as a very inexpensive back up bass but i could never use one as my primary bass.
Good luck with all of your projects. It sounds like you have a great attitude and a huge future in front of you. Keep me posted on your progress. I love to hear it when a fellow thumper succeeds.
About the Lakelands, I have a friend that owns one. That's pretty much the only one that i have ever heard or tried. It's a great playing bass with a very contemporary tone but it can get a nice traditional jazz tone too if you dial it right. They are pretty expensive but, from what i heard and felt on my friends, well worth the money.
Keep it low,
Timmer

8/28/00
What type of bass cab would you prefer between Hartke 410 4.510 and Peavey 410, 4.510, and 18 2x10. I have a hartke 5000 amp (2x 250 watt w/ bi amping)
Jim

Jim,
In general terms (not considering the bi-amping fact), of the cabinets you listed, i prefer the Peavey 410TX or 410TXF. They are pretty much the same cabinet. The only differences is that the 410TX is rear ported and has a higher crossover point where as the 410TXF is front ported and has a slightly lower crossover point. The TX model has a slightly sparklier sound where the TXF has a little more mid grind.
I have used the Hartke 4X10 cabs in a number of festival and club situations and they are great cabinets. They dial in quickly and they have a very nice, transparent tone. The only complaint that i have about them is that they are a little lacking in the warmth department. It could be that if i had a few weeks to spend dialing one in, i could get it to warm up, but i don't have that luxury so i just have to go with my first impression. The only other complaint that i have heard about the Hartke 10's comes from friends of mine that have owned them. They tell me that the Hartke cabs are very drop sensitive. A small drop from a hand truck and they don't work anymore. And you have to ship them back to Hartke to be repaired. So even if they are under warrantee, they still cost quite a bit to fix in shipping expenses.
I owned a Peavey 1820 (18" and two 10's) many years ago. It was a real work horse that was indestructible and could put out as much volume as you would ever need. However the tone was very blunt. It wasn't really a great tone. And the darn thing weighed in at something like 150 lbs... However, that cab is designed so that i can be run in bi-amp mode. I never tried mine that way. It could make all of the difference in the world. And it is probably the least expensive model out of those that you listed.
On the subject of bi-amping, in my experiences it makes the stage tone of the bass come off as unbalanced. I know that it makes the bass sound great out front, but if you are standing within five feet of your amp, you end up hearing what ever is coming out of your top cabinet (usually thehighs) most predominantly. And even if the bass sounds great out front, if it sounds crappy where you are standing, you aren't going to play your best. So unless you are playing a huge stage, personally i don't think that bi-amping is the best way to go for back line gear.
However, if you are set on bi-amping, i recommend a 15 or 18 for the lows and a 2X10 or 4X10 for the highs. I think that most 4X10 cabs actually put out more lows than most 15's, but if you are bi-amping, you don't need all of the other frequencies in the bottom cabinet that you would get with a 4X10 cab. It would just be wasted expense and weight that you would have to haul to each gig.
My personal recommendation for cab configuration is running a Peavey 410TXF on the bottom and a Peavey 210TX on the top in stereo. The 210TX puts out less lows and more mids than the 410TXF and as i mentioned earlier, it has a brighter top end. The combination of the two cabinets together is the perfect mix in my opinion. But tone is a very personal thing and everyone has their own idea of perfect tone.
Good luck in finding your perfect tone and let me know what you end up choosing.

Timmer

5/5/00
I am the proud owner of a 6 string fretless Ken lawrence bass. I tried to find a website or address to contact the luthier which was unsuccessful. Can you help?

thanks

York

York,
Well, it wasn't easy. There isn't much on the web about Ken Lawrence basses. There are a few pages (which you probably found) that mention KL basses, but only one of them had a link to the KL web page and the link was dead. However, the link listed the site as Kenneth Lawrence Instruments. So i refined my search to that. I still wasn't able to find a site. But in the Guitar Player on-line buyers guide i was able to find the address and phone number for the manufacturer.
Below is a list of all of the relative links that i found and the info from the GP magazine concerning the contact info for KL Instruments. It looks like you have one heck of a bass there.
http://www.station-music.de/
http://www.mesaboogiehollywood.com/Guitars/other_Guitars/KLBTNX4.htm
http://www.invsn.net/BassSale.htm
http://www.geocities.com/SunsetStrip/Studio/3550/instrmnt.html
KENNETH LAWRENCE INSTRUMENTS
1055 Samoa Blvd., Arcata, CA 95521-6605,
(707) 822-2543, (707) 822-8359 fax

Good luck and happy thumping,

Timmer

4/21/00
Timmer,
I saw your web site and was looking around and noticed you drive a Jeep Wrangler. My question is how well does your gear fit in the Jeep? I have been looking at buying a Jeep want to make sure that my bass gear will fit into the back (I think the back seat comes out or something like that). I currently lug around two basses (in SKB hardshell cases) a six space SKB rack and a SWR Goliath III cabinet, do you think I would be able to fit them into a Jeep Wrangler if I got one? I think it would be a tight fit, but would work. But I want someone else's opinion...
I know it is a weird question, but your a bass player with a Jeep Wrangler and this could save me a headache in advance.

Thanks,

Bryan O.

Bryan,
Your question is a little unusual but it actually makes perfect sense. When i purchased the Jeep, i took all of my gear down to the dealership and loaded it into the Jeep to make sure it would fit. It did, but not with much room to spare. It's pretty tight. Around a year after i purchased the Jeep, i switched from a 410TX to the new Peavey 410TXF. It never dawned on me that two more inches in depth would make a difference but it did. I had to change the way i packed but i still was able to get everything in.
In the spirit of it's better to have too much info than not enough, here's how i load the Jeep. Up to two basses and a hand truck goes in the passenger seat. My four space SKB rack goes on it's side behind and against the driver and passenger seat. 410 cab goes on it's back in the back. 210 cab goes on top of the 410 cab along with my 1X15 monitor. Briefcase goes between the 410 cab and the fender well. Then any other items go on top of the fender wells (i.e. stands, effects, bags, whatever). The Jeep comes with a removable back seat. I think my back seat has spent a total of 72 hours in the Jeep over the 5 years that i have owned it. I keep it wrapped in plastic to preserve it till i sell the Jeep.
I don't know how big the Goliath III is. If that fits, everything else should be no problem. The Jeep is fun to drive, although it's very rough (although the newer ones have coil springs all the way around instead of the leaf springs and are supposed to ride much better). It reminds me of a go-cart. It's quick, bumpy, and very agile. I can do U turns in my driveway. And with the top off it's very cool! Of course, the gas mileage isn't the best, it gets around 18-20 MPG, but it could be worse.
Good luck and let me know if everything fits.

Timmer


3/5/00
Hey man,
I've been playing now for a little while and i have a quesiton about the industry. Lately i've been giging around alittle, and playing w/ my band and subbing for other guys all over the place. We've been struggling for a record deal or some type of sponsor for a while and recently i did a bass track on neighborhood band's new albumn. It's the general consencus that we're a much better band and that we're more skilled individually as well as as a whole. They got the record contract through the classic industry way, CONNECTIONS.
My simple question is, How does one make these connection if your not filthy rich or have an uncle as a record producer.
Thanks alot
Peace,
Kenny

Kenny,
Thanks for the e-mail. Your question is a good one. And you have discovered a really key element. Who you know does have a lot to do with how far you go. Another key element is how you impress the people you know.
Network, network, network. Meet as many musicians as you can. Go to other band gigs, jam sessions, music stores. Get to know everyone holding a guitar, microphone, bass, keyboard, or pair of drum sticks (you may have to talk slow for that last group of people). Work with as many different people as you can. And bust your butt learning your instrument. If you show up at a gig and play better than anyone they have ever heard, you can be sure that they will want to know you and that they won't forget you.
With musicians comes management folks. If you meet enough musicians, you are bound to eventually meet a few managers. And it never ends. You keep meeting and meeting and moving your way up the food chain. You are never done until you quit playing or die. Even when you make it to the national level, you still need to keep making new connections to keep your career rolling ahead. One thing to always remember, you pass the same people going up as you do coming down. Treat other musicians with respect and compassion. You never know who your next employer is going to be.
There are personal managers that can help individuals and bands promote their careers. They offer a variety of services which include creating promotional material, contacting venues, arranging photos, generating radio air play for a recording, sending out press releases, setting up web pages, etc. They usually cost money either out of pocket or out of gigs. They very seldom work on spec. But they are usually worth it. They do the footwork that you don't have time to do. And frequently, they already have a lot of the connections that you want. I am on the roster of About Face Entertainment (http://www.afentertainment.com). They have helped me in a lot of ways and they have made a big difference in my career. Check your local industry newspapers for agencies like this. Give them a call and ask them what they can do for you.
Personally, i believe that a freelance musician has a much better chance of signing with a record label than a whole band does. If you are playing with 5 great bands on a regular basis, then you are 5 times more likely to land a record deal with one of those bands. But that is just my opinion.
Anyway, all of that is the long answer to your question. The short answer is if you work hard, keep plugging away, and take advantage of every opportunity that is presented to you, you will eventually make the connections that you need. It's a gradual process and it happens one step at a time.
One last note, if you haven't done so already, visit the rules section on my web page. It tells you all of the things that i think a person needs to do to have a successful music career.
Good luck and hang in there.

Timmer

2/22/00
Timmer
great job on your site. very easy to get around. i have a guestion for you. after playing bass for 25yrs. i'm strating to turn into a bet of an effects freak. i'm currently trying to get info concerning the delay effects used by j. pastorius. with all the jaco related sites and chats it should be easy, yeah right. also if you know of any vintage effects related sites let me know. i live in long island,n.y. if you're gigging in the n.y. area let me know i'd like to hear you play. thanks.
Hripak

Hripak (sorry, i don't know what else to call you),
Thank you for your kind words on my site. It's always nice to get feedback on your work.
It's a funny coincidence. After 22 years, i'm starting to use quite a bit of effects myself. Of course, i wouldn't call myself an effects freak. It's mostly just a little chorus, flanger, T-wa, reverb, and an occasional 600 m.s. delay. Of course there is this really cool patch that i created that makes my fretted electric sound just like a stand up. It involves a ton of compression and a T-wa patch set with a very high threshold to start at it's very lowest point of modulation. But perhaps that's too much information. After reading this back i have to wonder if maybe i am turning into an effects freak after all.
Unfortunately, i don't know of any vintage effect sites off hand and i don't know much about any of the gear that Jaco used other than his basses. However, i do play with a fellow who had performed with Jaco on a few occasions many years ago. I don't know if he will have the information that you are looking for but i will check with him. I'll be playing with him next week and i'll tell you what i find out as soon as i know. I'll also keep my eyes open for that info and will pass along anything pertinent to your question.
Good luck and happy thumping,

Timmer

2/18/00
hello timmer
i have been playing bass for only about 4months now and can play simple songs. The problem i have is that i want to learn how to do different techniques such as slapping so that i can possibly try and to RATm, or Chilles. any advice
thanks
Neal

Neal,
Thanks for the e-mail. It's always nice to hear from a fellow thumper.
Personally, i'm not a huge fan of slapping. Don't get me wrong. It's a great style and, when used properly and in the correct context, it sounds wonderful. Unfortunately too many players have chosen to learn slapping over the fundamentals.
There are four methods to learning new styles and techniques on the bass that i have used at various times in my career.
The first method is to get with a good teacher and learn everything that you can from him/her. The biggest advantage that this offers is that it saves a lot of time. Sometimes you don't realize what it is that you need to know or improve on. A good teacher can get right to the point and send you in the right direction saving you years of wasted effort. Another good thing about having a private instructor is that he/she can critique your playing for you. It's hard to get good honest feedback about your playing from others. And even if they do want to share their opinions, it's hard to know how much stock to put into what they tell you. A teacher can point out your flaws in a constructive way and you can have faith that he/she knows what they are talking about. A good instructor can also help to guide you in many other related areas, such as purchasing the right gear, avoiding getting ripped off when making purchases, where to find the best auditions, and what to focus on once you get an audition.
The second learning method is to watch as many live performances as you can of bassists that you like. Sometime you can make huge leaps in your knowledge base by watching someone else do what you want to do. And i'm not just talking about famous players either. There are usually a few great local players in every town that gig regularly. You can usually head out to one of their gigs and get a four hour lesson for the price of a few beers and maybe a cover charge. Now that's a great deal. Additionally, most players are pretty friendly to other players and are eager to share whatever knowledge that they have. A large percentage of the things that i know has come from watching and talking to other players that i admire.
The third learning method is through books and other printed learning material. There are tons of books out there that cover everything from slapping to walking bass. Learning songs by tab can also be beneficial. What applies in one song can usually be applied to another song some time down the road. Bass related magazines can also be a great source of information. I subscribe to Bass Player magazine and i get something out of it every month. There is always something in there that's worth learning. There are also many instructional videos available. These tend to be a bit expensive but can offer some very valuable information in addition to some entertaining performances.
The fourth learning method is to play with as many different players as you can. Even though you will almost never play with another bass player, there are still many things that you can learn from other musicians. And each musicians has his or her own bag of tricks for you to take from. So much of what we do as bassists is determined by what those around us do. So by working with a large pool of players, we learn how to adapt to different musical styles.
I know this probably isn't exactly what you were looking for when you sent the e-mail, but i think it's the best advice i can give under the circumstances. If you were on the west coast of the U.S. i'd suggest we have lunch and talk about bass playing, but that doesn't seem feasible at the moment.
One last note, a friend of mine sent an e-mail to Dave LaRue (columnist for BP magazine) asking him for help on slapping. Dave responded via e-mail and actually sent him several personalized slapping lessons. That is certainly worth a try.
Good luck and keep me posted on your progress.
Timmer