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Totally outrageous rigs: groovaphonic insanity!

_Sweet Willie_

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Originally posted by Bass_god_offspring:

... whole buncha stuff about muse...

okay, i really like the bassplayer from muse. anyone have any idea how he gets the rad synth bass sound with portamento (it slides between the notes you play, regardless of if you slide to 'em) and really good tracking? Does he use a roland pickup, or just some cool pedal, or a midi output...
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Isn't there a point of diminishing returns? Some of this stuff must take hours to set up. And exactly where did you plan on playing all of this stuff? What's the learning curve like for this gear?


I LOVE good gear as much as the next GAS junky, but does my Woods, Acme, Sadowsky set up sound lame enought to warrant my LUST for a TD-1, Stewart 2.1, 2 Tri-210 system to go along with my 2 brand spankin' new Nordstrand Deluxe 5s???


Not that I've given this any thought... :rolleyes:

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Originally posted by C. Alexander Claber:

This strikes me as the ideal rig if you have a roadie (or a large van and no gigs involving stairs):


Just bolt a few wheels and a trailer hitch and roll it down the highway. Oh yeah, I forgot, you'll need lights and mudflaps with that. :D

It does 12 Hz? Won't that cause involuntary bowel movements? Then again, some might enjoy that...

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  • 3 years later...

I guess you can't edit a post from three years ago and my pic has disappeared...


so, just to keep it in the family:




From BP's interview with Phil Lesh:


"I wanted more tone out of the bass; I wanted to be able to boost any area of the frequency spectrum. But most of all, I wanted the tone to be consistent across the instruments whole range. We talked about having tracking filters, where the frets were wiredso every time you fretted a note it would close a circuit, the instrument would know what note it was, and it would send a signal to an outboard filter, which would then shift so the filters center point was the root. The tracking-filter idea never caught on, though. Neither did the quad bass we developed, where I had one amp system for each stringalthough that was amazing the few times I tried it with the Wall of Sound. I had two bass speaker columns, each 30 feet high. I think there were 16 speakers in each column. So I had eight speakers for the E string, eight for the A, and so on. But it never went far enough; I should have had footpedals to change the configurations. It was also impractical: In order for it to work, the speaker sets needed to be separatedbut in that case the pattern wouldnt make sense to any one musician onstage. It would make sense only to someone standing 50 feet in front of the stage."





Play. Just play.
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