51m0n

[url="http://www.roundmidnightbar.com/michael-manring-steve-lawson/"]London Event at the 'Round Midnight Bar[/url] Its over 18s only this time...

[quote name='thisnameistaken' post='962107' date='Sep 20 2010, 01:02 PM']I tend to find that, given a range of modelled effects, I will only end up using one or two of them, because I think they are the best-sounding ones. Whenever I come into contact with Line 6 gear, for example, this is my experience. You could bundle a hundred or a thousand filter models into the same box but nobody would actually use them. The only benefit is that the chances of you liking [i]some sound[/i] that the thing makes increases. But once you find that sound you won't use the others. Which is why I would rather find a good filter that I think sounds good that also has a ton of functional versatility - not just envelope control. As opposed to a giant box full of envelope-following filters, most of which I don't like, that don't do anything else.[/quote] But this doesnt have only envelope control. It has hothand as well, and a high likelihood of a soon to be release hothand to expression pedal adapter too. I think it is equally true with almost every envelope filter I've ever tried that there are only 1 or 2 go to settings on it. Everything else just 'not working' right. Heck, I've tried some and got nothing worthwhile out of them at all (bassballs - IMO the worst offender here). These settings are generally forced by the sensitivity, after that you get up or down and blend (being rather crude about it, but you get my drift). So you get an up and a down, with differing blends (if you have that feature) and slightly different sensitivity settings. Thats usually about it really. A lot of the timbre is a feature of the detection circuitry (VCA, Opto, FET, Tube who knows) after all, and you cant change that whatever you do. Now, given that I havent played with this yet I would say that with the same settings for sensitivity you will end up with a lot more timbres to choose from, given the number of different models, and some ofd those models will work better than others with different sensitivities, so you end up with more possible timbres to play with (surely????). Each to their own, I just cant accept that there are more useable sounds in a more traditional envelope filter (even given an fx loop) than there are potentially in this box. Certainly not an envelope filter at this price point. I could be wrong though!

Well its an overdrivy distortion effect isnt it. So it will effectively be compressing too, that is the nature of these effects....

[quote name='The Burpster' post='953319' date='Sep 12 2010, 07:54 AM']The snare seems a little too intrusive in the mix for me, otherwise I like it - I do like antistar great track!.[/quote] +1 - its a bit 'tubby' too Other than that, nice one mate!

Actually the cost of double basses seems to be the same as the cost of electric bases, just with the decimal point on every aspect moved one place to the right I mean, who'd pay £150 for a set of Rotosound Swing Bass 66, eh! Oh well, had another go this evening, it seems I'm not too bad at arco after all, for a complete novice...

Wow, back again, was fantastic last time!

Too far for me I'm afraid Is he playing any other dates in the UK though????

[quote name='fatback' post='959191' date='Sep 17 2010, 10:22 AM']Nice! Mind if I ask the total cost in the end?[/quote] Archer DB £750 (on a long lasting sale from gear4music, rrp is quoted at £1000) French bow £50 (it comes with a German bow, typically Plux is used to a French bow) Shipping £35 (ish) Dominant strings £150 (ish) Setup £150 So £1135 give or take.... (cripes!)

[quote name='waynepunkdude' post='959199' date='Sep 17 2010, 10:31 AM']Mind if you become my dad?[/quote] Yeah sure, go and clean your room, do the washing up, do all your college work, get your own damn bass to college, I'm working, make me a cup of tea, dont argue!!! Get back home when we say you are to, get off the phone to your girlfriend, babysit your brother tonight, sort your own washing out, do more college work, practice your bass, dont do this, do do that........... Now let me play your big bass, and whats more teach me too! Still reckon its a good deal

Well finally after much scrimping, saving and searching for a recommended local luthier, we pulled the trigger on a gear4music Archer 3/4 size DB for Plux. Here are the obligatory dodgy photos:- Bass was set up by local luthier Vincent Purcell, who does Herbie Flowers' bass, top chap, has done a great job, sorted the neck out, the nut slots, and the bridge and checked the soundpost. He put on a set of Dominants too. Got it home this evening, and damn me but it sounds HUGE! Lovely soft but defined attack on the front of each note played pizz, but the arco soud is amazing (to my utterly untrained ear). I was happy to sit there in front of it just listening to the arco for ages, just a fantastic tone. So much more everything than any of the basses he has played before.... I'd really like to say a massive thanks to OutToPlayJazz, for pointing me in this direction and giving me loads of advice and encouragement to get this for Plux, he absolutely loves it, thanks mate! Of course he may be sick of it in a ouple of weeks, well hearing me try and play it anyway (I'm so bad at this its not even funny!)

[quote name='thisnameistaken' post='957882' date='Sep 16 2010, 12:12 AM']With something like that, you'll end up with 1 or 2 you actually like. It's like the Line 6 modelling stuff, the only benefit of all that choice is that you'll probably like [i]something[/i] in there. IMO it's better to get something with versatility rather than multiple versions of the same thing. Which is why the EHX Enigma is such a winner - expression control, start and stop freq. knobs, it's really easy to dial in and does more than just envelope-following.[/quote] I dont understand, you want versatility, well this has more versatility built in than any other envelope filter I've ever seen, since it effectively models different takes on the envelope filter circuitry. Watch some more of the videos explaining it on youtube, there are over 20 different takes on the concept (IIRC) which change over 20 different parameters in the model (that you cant access from the knobs), you then get a bunch of front panel controls over each one. Now unless the Enigma actually has over 25 different controls it cant be more versatile than this can it? Maybe I'm missing what you are getting at, but every envelope filter/bass/fx setup I've tried has an inherent character, this seems to provide a bunch of inherent characters. Plus if the $120 translates as it usually does (to £120) its a remarkably cheap device for the amount of sounds available IMO.

+1 for 'floating' thumb

[quote name='bassface2k10' post='957615' date='Sep 15 2010, 07:54 PM']Love the bass in this, also the words are so on the ball[/quote] Disposable Heroes of Hiphopracy absolutely awesome, love this album!

STOP!!! Wait, get one of [url="http://www.selectsoundsllc.com/bass-envelope.html"]these bad boys[/url] Now struggling with the big kinda GAS that causes explosive decompression of the cranium Here's the blurb:- [i]The Bass Envelope Filter is a continuation of the evolving line of Source Audio effects optimized specifically for the bass guitar. There are 21 different envelope filter effects to choose from including 2 Pole and 4 Pole Low Pass variations, Single Peak, Triple Peak, Peak/Notch variations, as well as Phaser settings. Each of these settings can be further modified with a variety of control options including positive/negative filter sweeps, sweep range, attack and decay speed settings, or frequency range selection.[/i] I love the soundblox stuff, and if the did it in a Pro box with the 6 recalls I'd be all over that like a case of terminal herpes....

[quote name='Chris2112' post='957806' date='Sep 15 2010, 10:35 PM']Well, I guess some players like to be heard (I do) and some are content to sit in the mix, like wallflowers swaying in the breeze![/quote] Have you actually tried a Compact or Vintage in a band? The certainly dont just sit in th mix, they snarl far too much for that if you want them to!

I'm going to stick with tradition and say my one is the best, Roscoe, so there.... Who knows, the fact is, with all the Fender prevalence it will probably be a 2015 Made In Uzbekistan Precision..... Philistines the lot of them

Cracking line

Emma Discombobulator MXR auto-Q Maxon AF-9 (temperamental b**ch but some of the sounds it can make are damnably funky) I wouldn't discount the Source Audio Wah either....

[quote name='Beedster' post='953040' date='Sep 11 2010, 07:17 PM']Hi folks I've recently bought a new iMac, Mackie 1640i ProTools compatible mixer, and Pro Tools M-Powered (all from DV-247). I took the day today out to get mixer and computer talking to each other and, well, they're not! So, help is required if at all possible. As far as I can tell I've done everything as per instruction, but when I open Pro Tools, about 10 seconds into loading the programme, an error message states that it cannot fin the hardware, and it closes. I've tried all the obvious things (rebooted, reloaded the software, turned everything on and of a few times, asked it nicely, shouted at it, and read several threads regarding similar issues on various other forums), none of which have helped. I could really do with some help as I have a busy week next week and don't want to spend too much of my working days on the phone to DV-247. A few things that might be important in resolving the issues are: 1. To connect the Mackie 1640i to the iMac I had to buy a Firewire 6/6 pin cable and an 800 to 400 adapter 2. The iMac recognises the Mackie when the Mackie is switched on, and doesn't when it is switched off, so I guess the Firewire is functioning (although I'm a bit concerned that the adapter might be an issue here) 3. I am computer illiterate! Any advice or experience gratefully received Cheers Chris[/quote] I'm sorry I cnat help you mate, I've not used that set up. I would suggest you try on [url="http://www.gearslutz.com"]gearslutz [/url], chances are they can help you there...

I think we agree completely... Personally I dont think there is room in any song for cruft, and 7 minute long improvised or not solos on any instrument (unless on the bathtub, a most underrated musical intrument I am told) are likely to be cruft! Stick to the point, and keep it interesting. I love Nigel's more 'pointed' posts, they make you rethink what and why you do things. It would unfathomly boring around here if we all agreed!

It doesnt have Speakon connectors (only really real gripe I have) It is a little bit hissy (not enough to worry about) Its more expensive than it was The tone stack controls take a bit of getting used to Its heavier than a very lightweight thing (but again not so heavy as to be a real issue at all) ..... Thats about it....

Yes. Over that length you arent going to have many coils, it may be a tiny biut more susceptible to RF, but its balanced innit, so it should all work out in the end....

I've said it before, but it bears repeating, if I didnt already have an ae410 those two cabs are what I'd have in its place....

He's cool. Prefer his electronica to his bass solos though. I would recommend T-Power to anyone remotely interested in drum and bassy electronicay stuff: Self Evident Truth... is an incredible album