Leaderboard

Yep.. Been down that road before.. Bought a Schecter Diamond P5 on here, sold it 3 years later, then bought it back the following year. Stupidly sold it again last year. I have learned nothing in 13 years of being on this forum! 😊

Playing another acoustic gig tonight. This one is at The Sprecher Tap in Milwaukee, 6:00-9:00. It's some sort of 420 celebration. Anyway, these acoustic gigs have been a life saver for me. I can actually hear myself and I really like the hours. I'll be home by 11:00. Blue

My first self built bass. I bought a fretless neck and a loaded body from here and sourced the other bits from ebay. Finally got around to building it today but made a school boy error. I forgot to buy the strings. Our own Gary Mac is doing the honours so I should be up and running next weekend. I've not played fretless since the '70's so it will be interesting to so how it goes. Anyway, there's the picture.

Nothing against relicing, but we should accept it's just shabby chic for boys... Is this any different?

Your epitaph would be more fitting if it read "You can lead a horse to water but you can't make it program a Stomp!"

Bought a Groove 5’er, sold it. Bought it back off same buyer, sold it. Tracked it down, bought it back, sold it. Like a an old flame that is lots of “fun” and exciting when together initially, but long term we’ll never last. I’ve tried to buy an old Squier P bass bitsa back off an old student...many, many times, but she won’t budge. Keeps saying something about “sentimental” reasons, only bass she needs .... blah blah blah. I obviously failed her 🥴

This was new last year. I love it.

Yambassador Krow I’ve maybe mentioned this before with access to the parametric eq on the Stomp you could ‘recreate’ the on-board preamps of all the major after market manufacturers if you know the set points of their preamps. Then a patch could be made with eq only and saved as per each unit i.e. ‘East Uni-Pre’ etc. Or alternatively in snapshot mode you could save the same basic eq but have the mid set point differently so you have access to perhaps a 250Hz or 440Hz or 700Hz bump with a few dB’s boost already applied and have these names to a particular bass so on a gig you have instant access to the boosted eq. Snapshot mode is very clever! Based on what you already like and use it should be a pretty straightforward exercise to set up a boost at 700Hz on a eq patch - a quick a/b test should let you hear how close the two sound and off you go! So for example if you Yamaha PJ benefited from some bass cut or mid boost or you Ibanez sounds better with some high mids tamed just a/b until it’s there and Bingo! The more elegant solution is of course to buy a new bass, buy a new preamp, pay to (have the cavity potential dug out) fit said pre and use it at the occasional wedding gig. Banter aside I found the Stomp eq and basic tube preamp to be really useful in getting a great time right off the bat. Snapshot mode enables slight tweaks to suit a different room, different bass etc. if one is happy with the core sound.

Played the Half Moon in Putney last night, had to rearrange the stage layout a couple of times to fit us all in comfortably, but once that was done, it was a great gig, probably one of, if not the, best I've been involved with. Good size audience, all ticket holders, so the payout was very pleasing! The band seemed to be inspired by both the enthusiasm of the audience and possibly the full moon, not to mention the fact that it was bicycle day. I don't think anyone there was celebrating that, but there was definitely something in the air (no, not that!). Some emotionally and physically draining jams evolved out of several of the songs, if it wasn't for the strict eleven o'clock curfew, I think we'd still be playing! And, as a special bonus, a former student of mine from Finland was in London, so she came to see us. Great to hear news of so many people I knew over there. I used my Ibanez SR1206, Ashdown ABM 600 and Barefaced cab last night. No problem with any of them other than difficulty in reaching the amp to adjust anything as it was fairly inaccessible squeezed between the drummers.

Yeah, I have - thank god. Bought in 2011 as a treat to myself for a messy breakup. Sold in 2013 to get married to childhood sweetheart. Who bought it back for me in 2017. A very special CS 1 of 1 (weird neck profile) 64 jazz bass relic.

MusicMan Stingray 2001 lined fretless And without the guard...

Just purchased my old Bass back today I bought it originally from Electro Music before it shut down...it's an ESP Pancho Tomaselli signature bass (Jazz configuration) stunning Bass I purchased it second hand for about £650 I think new these were about £1000 plus......Swamp Ash body, Maple Neck, EMGX pups, Gotoh bridge absolute beaut but was a bit to Rock for me in shape....but I did a straight swap with a couple of Electric Guitars and it's back with me....was a fool to get rid first time but won't be going again....happy days.

Not the only one who enjoys collecting Yamaha's and modding them 😋

Back in the day, a load of bands I played with had notebooks full of people who would happily put bands up overnight. Let 'em in free, buy them a beer, sleep on their sofa. It wasnt something I adhere to, I prefer my own bed to be honest, but in those dreamy pre-internet days, there's a certain charm now to this being a thing.

Will the excitement never end?! Bridge is on. Don’t ask about the black screws...so mundane is the story I cannot even be bothered...in a side note, chrome screws on the pickup now...as it should be.

Hi , today I paid a visit to my painter, to see the progress on my new EVO-FX4 .... he told me that people were crazy because they all want to get their eastern eggs painted.... anyhow, next week is another one .... stay tuned...

Westone Thunder II fretless (c. 1981)

Yes. Maybe doesn't always get the recognition he deserves. There's a rich musicality in his playing, which is somewhat uncommon... IMHO re over-playing, Guy Pratt is allowed to add a few notes within, because he makes them worthwhile. It's the 'loads of notes' within the chord, note-count sh*t that I have an issue with. GP is way above that. He payed quite full lines on 'Like a Prayer' but it was balanced and right for the arrangements / production... IMHO(2)

Rosewood fingerboard makes it a safe trip... I'm a maple junkie. But I have been known to stray edit: I may return after having placed an order 'though 😲

Tonestyler ordered. And... I'm off to Glasgow to try a Sandberg 48, and maybe a Thunderbird too.

I know. I think it’s a sign. After all of this, my preferred dremmel attachment for cutting which was missing yesterday (and why I opted to hand cut which I’m certain lead to the breakage...) just magically appeared in a box of parts. so. It’s being left as it is. in other news. Bridge and Machine heads arrived.

My old Steve Smith custom long scale "EB-2" - foolishly sold to a BC-er several years ago, who recently very obligingly traded it back to me; in better shape too.

Hi, welcome from another newbie, also 56!! And a recent bass player too.

I don't think I've ever seen a genuine bass from the 60's or 70's with the patina of years on the road that looks as bashed up as a heavy relic, they appear to me at least as fake as an ERG politicians promise. I couldn't bring myself to go for a light relic either, feels a bit like a personalised number plate on a Ford Mondeo, but each to their own..

One of my Antoniotsais is sycamore. It's lovely.

Indeed, I was one I've bought two basses back. Both from members here, although the first one I sold on Gumtree and only a couple of years later I found he was a member of BC (Hi Sam!): I met him at a gig we where I was providing bass amplification, and I did not recognise him but I recognised the bass. He wasn't selling at the time, but I expressed my interest, and a year or two later he sold it back to me. A Vintage (the brand) Jazz bass. The second one, @alyctes here bought it from me. A Shine Telecaster shaped bass with two MM humbuckers. Someone else was asking about those basses, I chipped in what I knew, and alyctes was there too... one thing led to another and my girlfriend bought the bass back for me for my birthday. Alyctes even dropped the price as it was a present etc... Thank you sooo much

All my basses were sold because I had just bought a better one. So, I have never bought back an old bass.

For anyone unlucky enough not to get anywhere with Amazon there's one for sale on BC.

I bought back my Overwater Custom Jazz. I tried to get my first Status Kingbass back. Owner wouldn't sell it when I had the cash, I didn't have the cash when it was for sale....ain't that always the way??

yea, now here's a story, i sold my 80s G&L L2000 to some chap in manchester in the mid 90s, its was mint with tags in the original case, the one with leo fenders sig on the headstock before fender made him move it, listening back to the recordings i did with it i always thought sh!t that sounds good, should not have sold it. Then about 8 or 9 years ago i saw it on fleabay, i got intouch with the seller and indeed it was the chap i sold it too, so it was pulled and i got it back for £100 less than i sold it for in the same condition, he did not like it so stuffed it under his bed, so now it lives under my bed, still mint with the tags in the original case. 🙂 Im still looking for my wal midi bass, i badly want that back as i now have a use for it again

Welcome, Bill! I was in my fifties when I started, too! It's never too late!

No, I can't see anything but a bearded giant playing a normal-sized bass.

Don’t be silly. its just an end to employers making musicians sit 1m away from a 130 dB sound source without adequate hearing protection.

EDIT 22/10/2019 As the new v3 firmware launched yesterday I will move the discussion to a new thread and lock this one as much of the information here has been superseded and/or incorporated into the new v3 manual. Thank you to everybody who contributed to discussion here as it helped get me involved in working with Panda and helped shape the manual for the new firmware. __________________________________________ Original post: At the behest of @Al Krow I’m going to start a page which should hopefully serve as a helpful resource for understanding and using the FI and for sharing patches. For the moment, I’ll include an explanation of some of the features in the editor, which I wrote as a PM to @GisserD, I’ll add to this in due course. There is a new editor due out after April so I’ll amend once I’ve had chance to familiarise myself with its enhanced features. If anyone would like me to explain a particular feature then please comment and I’ll do my best to add it below as quickly as possible. I’ll also include a link to patches I’ve created and will add to this as I create new ones. Likewise, if you have useful tips or patches to share then please do! Please give me a “like” or comment if you’ve found this useful. It’ll encourage me to do more! Thanks. __________________________________________ Editor tips: In the VCF/MODULATION section, “Freq Vintage” is the cutoff of the original Deep Impact filter (with its imperfect scaling). “Freq New” is the cutoff of the new, perfectly-scaled FI filter. You can only engage either one or the other. Switching has to be done by the Vintage one though. Set its slider to “off” and it will engage the New one; turn it up and it disables the new one. After reading the manual again, it appears that the number that “freq new” is set to corresponds to the MIDI note number of the same value. That is to say, each increase of 1 corresponds to a semitone. Note 36 (min) is C (65.4Hz), note 122 (max) is D (9397.27Hz). ”Freq 2nd” is the cutoff off a second (bandpass) filter running in parallel. Turning its slider up engages it. You can then space the two filters to create dual-peak, vocal formant- type sounds. An increment increase of 1 provides a one-semitone offset from the main filter. Oddly, this second filter still reacts to envelopes and LFO even if you turn off the main filter with the dial in the top right of the screen. This can yield some interesting results.  In the VCF/ENVELOPE section, “attack” sets how quickly the filter(s) open(s) from cutoff to maximum. “Decay” sets how quickly the filter(s) close(s) from maximum back to the cutoff point. Back to the VCF/MODULATION section, “AD” sets how much the VCF AD envelope will affect the filter cutoff - higher values will open the filter further. “Env. Follower” sets how much your plucking dynamics (bass’s volume envelope) will affect the filter cutoff - again higher values cause the filter to open further. You need to be judicious in balancing the “AD” and “Env. follower” sliders in the above section. If you want a regular, always-the-same-shape, keyboard-style envelope then only use the AD slider. Adding too much of the envelope follower can override the shape of the AD envelope you’ve chosen. A bass’s volume envelope has a reasonably quick rise to maximum and then a longish decay as the note dies out. If you’re trying to program a slow upward filter sweep on the AD, the envelope follower will swamp that. Likewise, if you’re trying to program a very snappy decay on the AD (like acid-type bass sounds), the long decay of the bass’s volume envelope will ruin that if you apply too much envelope follower. “Resonance” controls how much a portion of the signal is fed back into the filter. This boosts the frequencies around the selected cutoff point, thus creating a resonant peak. Turning the resonance to maximum on 24dB mode will cause the filter to self-oscillate, yielding a pure sine wave oscillator. When using a bass guitar, you’ll need to have “bass” turned up in the VCF INPUT section (it needs a trigger and pitch reference). It probably works better when plugging in a keyboard instead as you’ll probably be able to hear just the sine wave. It doesn’t seem to behave at all like it does on analogue synths - changing the cutoff didn’t really enable me to tune it very well. Weirdly it seems to be best in tune when the “freq. vintage” was set to 0. After reading the manual it looks like the new filter will behave correctly (see above under explanation of “freq new”). I’ll have another go and update this page accordingly. The “Slope” knob switches between a 2-pole (12dB per octave) slope and 4-pole (24dB per octave) slope. The latter cuts off the higher frequencies above the cutoff point more rapidly than the former. LFO can be used to control the filter, either on its own or in conjunction with the envelope(s). (LFO can also be used to modulate the oscillators’ pitch.) I like that it has a delay slider too so that the LFO fades in over time. I’ve used that on one of the patches I shared. The LFO can be controlled by MIDI CC #1 and so a foot pedal can be used to bring modulation in and out as desired. What is really cool is that the noise has its own AD envelope (next to the VCF AD envelope sliders). This means you can program a short burst of noise to create a percussive attack even when you’ve programmed a long decaying filter sweep. (Normally noise just goes through the same filter as the other sources so that if you program a long decaying filter sweep, you can hear the noise all the way through. On the FI, you can get the noise to just be present right at the moment of attack and quickly disappear, or conversely, have it silent at the start and then slowly fade in.) I’ve finally figured out how the harmoniser section works! It’s part of the distortion circuit. You need to turn up the “distortion” slider in the INPUT section and (at least one of) the voices in the MIXER section (next to HARMONIZER) in order to hear it. One oddity I’ve found with the FI is as follows: if you’ve edited and saved any of your patch parameters on the actual pedal and you subsequently load new patches into those slots, then the new patches will take on those tweaked values. If that’s not clear what I mean: on the pedal a parameter setting of 5 is the default, i.e. if all parameters are set to 5, the patch will sound exactly like it did when you created it in the editor. Say you make an edit to a patch on the pedal and set its resonance to 9 and save the change by clicking the edit knob; when you load a new patch into that slot, its resonance will be set to 9 also. I realised this quirk when my first patch sounded nothing like it should have sounded. Luckily, setting each parameter back to 5 sorts it out. You can do this for all patches at once from one of the power-on menu settings. EDIT - this was a bug and has been addressed. __________________________________________ Patch transferring Here’s a little pointer that is an answer to a query about how to actually load patches on to the pedal. I know a few people have struggled with this. This is a cut and paste of a reply I wrote on TB: You need to find out which patches you want to load onto the pedal and which slot number in the pedal you want to have it. If you just want to replace one individual patch with another then first find a patch on the pedal that you want to overwrite. Then find the file on your PC of the patch you wish to write to the pedal. Rename this file so that it starts with the two-digit prefix of the slot into which you wish to load it. Open the renamed file again via the editor then click “write single file to pedal” and it will get loaded into that slot. If you want to load multiple files at once onto the pedal then it’s best to create a folder, copy in the PC files you want to load onto the pedal. Then rename each file with the slot numbers you want them to go, choose that folder via the editor then click “write all”. Any blanks will be skipped over and left untouched in the pedal. I’ve gone a step further and have all patches I like in one folder (unnumbered). I then have a different folder into which I placed the 99 patches I want on my pedal at any given time and I number these with the two-digit prefix and write these all at once. If ever I swap any out, I delete the old file from this folder, add the new file and number it and then write all again. Or you could simply have one big folder with all patches you like and then just number the 99 that you want and click write all. Any unnumbered patches will be ignored in the write process. ______________________________________ Patch sharing: (I’ll see if I can create a shared drive like the one on Talkbass) My patches: https://drive.google.com/drive/folders/1C7ZYqsyXkyNuasuuwLrQlICboSsGfXMp TB shared patches (including mine): https://www.dropbox.com/sh/zto20lpne0dnent/AAC6W_8BHeYLrBTjkcoJBzCza?dl=0 __________________________________________ Latest firmware: http://pandamidi.com/support __________________________________________ My v3 sound clips: https://drive.google.com/drive/folders/1u2-dJaWdaAbPDnDdWkipu-P7IH_GHLQ2

There's a coincidence! I was listening to a couple of RB songs earlier - Ballet Dance and Newz. The sentiment behind Newz hasn't aged a bit - in fact it's got stronger, if anything. I gather they're still going - do you keep in touch?

Fresh off the plane. One for flats, one for rounds.

Amazing. cheers guys! missed the close up headstock pic on the listing. just never seen one of these before.

Agreed. You cannot expect to turn up out of the blue and be instantly one of the gang. Go for a few weeks, get to know people and show some support for the evening. Most jams are run by people who receive little reward for all the legwork and organising they do. They welcome those who are prepared to put in a bit of effort, but if you are the type who turns up, does your 3 or 4 numbers and then buggers off, you cannot expect them to be overly thrilled with you.

@Cuzzie

Liked this. Thought his Moog sound and solo was very reminiscent of Sean Martin who he used to play with in Snarky Puppy. Also good to see Captain Birdseye grooving along in the audience.....

Here’s Nicky playing that 3 pickup Longhorn, what tone😍

That’s lovely 👍

If something like that came up for sale, I'd be seriously investigating the going price for every internal organ I possess that I could struggle on without!

@blisters on my fingers Thanks - neighbours are fine, I'm lucky to have a 'bass-ment' for making noise and my desktop computer (upstairs) is accompanied by a decent set of headphones! Glad I'm not going entirely mad today! Seems my 'glitches' and queries are fairly standard ones - and my stuttering start above may hopefully prove useful to others thinking of downloading EZ2, who haven't yet done so.

Glad to hear things are looking brighter!

Completely agree Andy - sycamore is lovely wood. It works and finishes beautifully. I've used it a couple of time before - I have one bass that I started a long time ago and still haven't got round to completing - that has two different shades of sycamore in the body. The two slabs of sycamore I started this thread about, were bought as a bit of a punt as they were cheap (I think about £20 each). They need drying and processing as they are around 3 1/2" thick and 18" wide so to big for any tools I have. I expect getting them processed will cost several times what the wood cost!! As with any rough sawn wood, it is a bit of a lucky dip as to what the finished wood may look like - I'm just pleasantly surprised by the rippling I have found on the one piece so far. I'll have to source some more...….!!! Edit: You can tell it was late when I posted this as I wrote ‘maple’ not ‘sycamore’ - doh!! Updated it now

Maybe you're just not very good?

Oh, hell yes. It is a tricky balance to get right, though - I speak from some (limited) experience having covered one for a friend! Obviously you want to give all the musicians a chance to get up and play, but every new person that shows up is an unknown quantity - not just on the axis of technically good / bad, but also the essential axis of modesty vs incorrigible showboating! And of course, anyone who's not playing is there to be entertained. There's a fear that if you bring up too many howlers, punters will lose interest, and other musicians will start to regard the jam as having a low standard of musicianship. (And that's before you consider the internal politics between the regulars - knowing that you can't put Adam up with Ben because neither likes the way the other hogs the stage, or Carl won't play with Diane because she once forgot the chords to that one obscure soul tune he wanted to sing, even though that was weeks ago...) So in short, I can see why they find safety in the musicians they know. But it's equally counterproductive to play it too safe. If you're too scared to take a punt on someone you don't know, you're just going to micturate off the other musicians, and the punters will quickly get bored of watching the same dozen people cycling through the same dozen songs every week. And that's giving the host the benefit of the doubt, and assuming that he/she doesn't see the jam as a back door to having their own personal stage show, where they can dominate the stage with their own dreary guff, and feel alright about the "jam" aspect because they got nine other musicians up wth them. ...can you tell that I've possibly been to too many jam nights? The above are, sadly, all based on real examples I've witnessed. The best two I've known were: one where the host never played, and my current local one, where the host plays the warm-up set, then only gets back up if there's a shortage of musicians.