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I’d be a little wary of anything suggesting it’s ‘dripping’ with someone’s DNA...😳 🤮

Well that’s my kid’s names sorted. Thank you.

I've long suspected the problem is that these groups just don't have a great writer among them. Your Billy Sheehans, Paul Gilberts, Steve Vais, etc., are incredibly accomplished instrumentalists, but are they necessarily the people you'd want writing the songs that your supergroup is going to play? The Brian Wilsons, Pete Townshends, Ray Davieseses of the world weren't necessarily the best musicians in their groups, but they knew how to write a good tune and had groups who were prepared to let them lead on the writing. I say this not to suggest that good writing is mutually exclusive from impressive musicianship; more to suggest that a lot of these supergroups overlook what made their original bands worth listening to in the first place.

Watch out, there's a new boy in town. Electro Harmonix advert for a Big Muff reads "EHX has reissued the original 1973 V2 Violet Ram's Head Big Muff Pi and it's dripping with vintage Electro-Harmonix DNA and tone." So I shall rush off to amend my for-sale ads to include the fact that they are replete with the DNA appropriate to thrir manufacturers. Also I am very interested to learn that DNA and tone both 'drip', I had missed this fascinating fact in my admittedly limited study of the science.

I thought that was just you breathing out after the effort of posting. In morse code, obviously.

Suzi Quatro and her leather jump suits on TOTP in the 70's. It's all her fault!!

Hmm, big muff dripping with DNA, reminds me of a drunken one nighter

I really enjoyed it. It was great to meet up with familiar faces. Some whom I really only see once or twice a year. I think I may have been the youngest person there being 40, but it doesn't bother me at all. It's all about the crack really and playing things you might not have access to. Besides, it might be cool to see what "the kids" are using these days. On the other hand it'll probably be drop F Dingwalls with Darkglass everything. Maybe it's best not to know.

Original v3 Update October 2019 v3.50 update March 2021 v3.50 Editor interface v3.60 patch Manager interface June 2021 The following section headers are all hyperlinks: v3.60 User Guide The information contained herein supersedes and/or incorporates the information from the old User Resource page, which is now locked. Product Page Support Page (firmware, editor, etc.) Online v3.61 Firmware Updater If you do not want to or do not need to back up your old v2 files, then you can simply update your firmware and load the new factory soundset using this handy tool (Google Chrome only). IMPORTANT: If you don’t already have your v2 programs backed up but want to, then, rather than using the online updater, you must instead update to v3 using these instructions. Note: After updating to v3, you will need to reset the tuner’s tune base value to 440 Hz, either manually or by performing a “reset all”. See page 13-14 of the manual for details of this. New Online Program Database I've uploaded all the old Talkbass shared patches to the database in the new v3 format (removing the most obvious duplication). I’ve also shared many of my own patches.

For me it’s Steely Dan; a band whose pedigree is without equal, but whose output is just utter shït. ymmv

Mine too. I was fortunate to get a couple of lessons with Paul (free lessons too!) who showed me some of the bits I couldn't work out on bass lines like "Therapy" and "Dr Jeckyll & Mr Hyde". He was just so great to me & my bandmate (who was also a huge Damned fan). We cheekily just turned up on his doorstep and asked him the favour - he invited us back, and it was what spurred the young me on, at the time. Sitting there, playing the bright Yellow Rick that he played on OGWT and the Black album, with one of my fave players, who was one of the nicest guys I ever met... I've met Paul several times in recent years. Saw him with the Damned again, after all these years - and he's still an amazing player. Part of the best line up of the Damned ever Not a Rick player myself - but the sound he got live and on the Black Album and Strawberries was superb

Copied from @Andras Szalay‘s TB announcement: Dear friends, No more “it is almost there!”, rather “it is here, really!!!”. We have put an enormous work behind us. It was mentioned here on the forum that “Andras is a one man engineering team”. While this was the case in the beginning, the Future Impact v3 as released today is a product well beyond what any single individual could have accomplished. Over the last few months an extremely talented international team helped me, and the FI v3 is the result of our joint effort. Let us all recognize and applaud the members of the team: - Peter Kenney (UK): Product design, writing the User Guide , editor testing, sound design. - Gabor Lippenyi (Hungary): Product design, sound design, studio recordings, creating the video demo. - Zsolt Rammer (Hungary): PC and MAC Editor coding, graphics, sound design. - Gabor Gerenyi (Hungary): Product design, sound design, marketing. - Simon Iten (Switzerland): Product design from the very beginning, sound design. - Gergely Barcza (Israel): Design concept for EWI mode, EWI mode sound design, and demo recording. - Geza Barcsik (Hungary): main graphics designer. You can find all product details at http://pandamidi.com. Let me cite here just a few of the most important features: - modular type synthesis with flexi controllers - true multi effects processing - bass, guitar and wind instrument modes - ADSR envelopes - VCO3 and 4 acts as an extra LFO - redesigned look - new lower price - lifetime warranty - and as a last days result, integrated sound program database in the editor! It is important to note, that the electronics of the FI v3 is identical with the FI I., so your current devices can be software-upgraded to be functionally identical with FI v3. Watch the video demo showing all the 99 amazing new sounds, cca. 10 seconds from each. Also you will find on our web page the FI 3.00 software upgrade with the bank of the new sounds and all documentation, naturally ALL FREE OF CHARGE! I signed the bottom plate of the first 20 FI v3. Hurry if you want to get one of them! Finally, I would like to thank everyone on this forum for your help, comments, critiques and suggestions during the development. These all contributed to giving you a better product. Enjoy! Andras Szalay

To help out with the upcoming gig booking season, my band booked in at Unit 26 Studios in Trafford Park near Manchester for a 'recorded rehearsal'. 3 songs, recorded live, warts and all, with a multi camera setup in a 2 hour slot. First hour was setup and warm up, second hour was 2 takes of each song. Then mixed down, edited and sent to us 2 weeks later all for £150. We're very happy with the results. As a pub covers band paying for a full showreel was a bit much so this was a nice in between solution. I'd absolutely recommend the studio. For those who are interested, the bass rig was all bought from the sale boards on here: Stingray Stealth 5H - via @derek Handbox R400 - via @TPJ Barefaced Two-10 - I forget who from and can't find the PMs about it. Here's one of the vids, would be interested in your thoughts. Cheers!

*Sigh* I didn't really want to burden the main thread with this stuff, but if you insist (and in simple terms)... The following (in no particular order) are - or at least should be - relevant on any decision about buying a guitar for a very young student: 1. How committed is the student (parental assessment)? This will dictate how much you might be willing to spend on a first instrument. Not to say that it won't change over time of course... 2. What style(s) of music (if any specific) do you think the student will want to learn (if known - not a given just 'cos it's come up on Basschat)? This will help you decide what type of instrument to consider. There are other issues that arise here, but do you really need to know at this stage? 3. Do you have any expectations as to what type of programme the student might be following? There's more I would want to ask the parent at this point (and suggest depending on his answers), but at this stage I'm not going to. No, really. 4. Do you have any expectations of where you would like the student to be in, say, a year's time? Not a problem if you don't, but it might affect what you have to spend out on another instrument further down the line (which you will need to do if they really take to it). There are other questions I might want to ask, but you get the general idea. While I'm here, the questions are actually a bit interactive too. Oh, and yes, I'm well aware many kids won't have much of a clue about any of this at that age, but I think it's important for the parent to try to get as much of a feel for what's best for their child as can reasonably be managed. It has a bearing on much more than what guitar to buy them.

It's only his 4th. Moi, a measly third replacement FI to celebrate all the enormous hard work (and the fact that there is finally a usable manual!) you've put into v3, Peter. Which I'm going to be calling "Harry" 😁

I usually just blat out a stock answer to this but today I've thought a bit more about it. I was eleven the first time I heard a bass in isolation so to speak was that bass line that starts at 17:23 on Tubular Bells, I loved many elements of that album but that bass line... it sent shivers down my spine. Next was listening to the first five Yes albums played by my brother, he really loved Chris Squire's bass sound, constantly banging on about the distinctive Rickenbacker sound, I remember sitting down and drawing that bass over and over for some reason. Then I was looking through his albums and I found Relayer, luckily I put the second side on first and heard Sound Chaser, which remains my favourite Yes track to this day. Although these were my earliest bass influences they were almost anti-influences so to speak inasmuch as I listened, admired and decided I could never play anything like that and anyway I only really excelled at art and technical drawing at school and had already decided (at such a stupidly young age, what did I know) that I was going to be a graphic designer (or commercial artist as it was called at the time) so I kept listening to all sorts of music, kind of unaware really how important it all was to me and carried on being a unpopular long-haired teenager who spent school breaks sitting underneath the oak tree next to the art department listening to Selling England By The Pound and The Lamb Lies Down On Broadway on a scratchy little cassette player. Then I was at my school's Friday night youth club disco. Two girls appeared in garish ripped tights and what I (I assumed) were pairs of their Mum's high heels. They were also wearing oversized dinner jackets adorned with badges, I remember seeing one badge which was the Bowie Aladdin Sane face and another that I thought was Elvis Costello. Both these girls were (in that horrible school hierarchy sense) unpopular and not considered 'attractive" by the popular boys. I took one look at them and thought "Right, my long hair and greatcoat need updating". Gradually I became a punk and after auditioning in the middle of a field on a mates drum kit I became the drummer in a few short-lived punk bands. One afternoon I was sitting on the doorstep of a mates gaff when he put on the first Public Image Ltd single, "Surely that's just four notes?" I thought. My mate had a bass so I sat on the doorstep with it and indeed it was four notes, I played that bass line and I was hooked. For some reason I kept on playing drums in various bands until I was about 25 and then I bought a Jaydee and now I'm here! So, in summary Mike Oldfield, Chris Squire, Jah Wobble. Heavy influences afterwards were JJ Burnel, Mick Karn, Gabe Nelson and Eugene Wright. But who influenced me to actually pick a bass up and made me realise I could play it? Wobble innit...

Why not try ending with Italic dots instead, just for a change? It shows an inclination to be enigmatic instead.

It was great to meet some old friends and put some new faces to Avatars. Just wanted to add my thanks to Nik, Hamster, Mrs. Hamster, Cetera, Pete and everyone else who helped out.

I had a bit of time to kill today, so I made a video about my Limelight P....

The Winery Dogs Audioslave Queen + Paul Rogers Them Crooked Vultures I don’t dislike the above bands or collaborations, but I was never blown away by their output compared to how technically brilliant each band member was as an individual.

It's like he's BassChatted but only ever skim-read the threads. As a result, the review lacks both heft and grunt. But let us not dwell upon the negatives for here is an opportunity for the forum to make some cash. BassChat should offer its services to retailers, wholesalers and manufacturers not only up and down the country but also on a global basis. I propose a two-tier programme: i) Proof-reading of reviews and press-releases with the intention of weeding out solecisms, cliches and egregious bull-poop ii) Regular industry seminars on 'How to Talk To Bass Players' emphasising - among other things - the importance of cheese puns The proof-reading would come in at £250 a pop for UK companies and £500 for multinationals. The seminars would cost £1500 per delegate inclusive of accommodation (shared room in local Travel Lodge). Supplementary payola deals whereby BC might shill worthless or sub-standard products would of course be both deniable and 'off the books' while running into the high four figures. Our integrity should never come cheap. There's no reward in merely mocking these businesses. We need to monetise our scorn. Let's slit them up like kippers. 'Thanks BC!' says a musical instrument retailer

The Anderton's review reads like they've copy-pasted a sequence of posts from a slightly tedious BassChat thread: What do we think about the Precision? Frankly, I think we should sue their tits off for plagiarism.

Need to spend much more time with v3 but some preliminary observations: - tracking appears improved - pitch recognition appears slightly improved as well - all presets are more coherent out of the box, i.e. without needing to tweak parameters they are at least “workable” - Is it me just thinking it or does the Program button now switch bank too (cannot remember if old version did that too...)? - significantly more user friendly software - logical and useful manual!

Might explain this: Condition: For parts or not working

In my entire life (nearly 62 years) I doubt that I have spent an entire minute thinking about Paul McCartney - even if you added all the milliseconds in which he might have crossed my mind together, there wouldn't be enough for a whole minute.

Bearing in mind that I am still striving for mediocrity on a 5er I have owned (for mostly shortish time periods) a Yamaha BBN5, a Peavey Zephyr, an ACG fretless 5er and a Squier VM 5P. I recently resolved to have one more shot but with a more mid range bass and recently acquired a preloved Korean Lakland Skyline DJ5 from a member of this parish. Nice and light at 4kgs and very easy on the eye to boot. Easily the best of the bunch and lives on a stand in the officially designated practice area where it can be easily accessed.

Thanks, folks! Yep, I think this pickguard crack has become a bit of a feature now... Thank you, although I suspect Mrs. WoT would disagree 😄 And yes, I did... bucket list tick!

You're not missing much, it's only a partial ellipsis ..]

Fixed...

Pretty sure it was listening to the Four Tops 'Reach out and I'll be there' at the school disco circa 1968. James Jamerson on Bass, although it took me another 20 odd years to know that and appreciate his whole catalogue.

I can't say I'm a fan of either participating artist, but based on everyone's comments so far, I had to give it a try, out of morbid curiousity. Bugger me. I think the following comment under the Youtube video summed it up nicely: "ST. ANGER: I'm the worst Metallica album ever LULU: HOLD MY BEER"

Has anyone mentioned how having a couple of pints magically has a positive effect on the sound of your gear?

The modern day equivalent of playing a tennis racquet...

Should have had one before you left home

I’ll have a P please Bob 😁

I think you'll find that the coats, cupboard door, and mat, have been very strategically placed to minimise room reflection and improve the audio capture of his phone camera's tiny microphone.

Boy, are we late to that banquet.

I'd agree about Cream. Apart from Sunshine of your Love, I find their output quite forgettable. I really don't like Ginger Baker's drumming, which would explain my indifference to Cream. Peace Davo

Oh for god's sake, will this never end?!?

Got to say @Frank Blank, I think that's my favourite post of the year so far ! As a bass player, I'm biased obviously, but there's a lot of truth in what you've said IMHO.. Thinking about the lack of younger people attending the Bashes, I think there may be economic reasons behind it too. Let's face it, its not the cheapest of hobbies to take part in is it? specially with this place driving the GAS at full throttle!! 😁

I expect @Andras Szalay will make a separate announcement in a dedicated BC post, but for now: https://www.talkbass.com/threads/future-impact-now-available-was-deep-impact-reissue-interested.1115025/page-277#post-23195223

Actually the way in which he asked wasn't just a polite question. He was using terms like "thrown down stairs" and "mutilated " so it was clearly just poorly veiled criticism of other people personal choices.

I think that James Jamerson had the tone knob turned all the way down, while JJ Burnel has it all the way up. Everybody else's sound must be somewhere in between.

Makes you wonder why anybody ever bought one 😎😃

Glenn Hughes, particularly on "Made In Europe". That said, it was about 20 years after that LP came out that I actually got my first bass and started playing, and I've never learnt how to play with a pick so can hardly call him a direct influence on my particular playing style.

Dave outta Chas & Dave. He's a really good bass player actually.

1978. John Paul Jones' playing on Led Zeppelin 2 and 3. Still for me the finest all-round musician working in the popular music world.