51m0n

[quote name='Jacqueslemac' timestamp='1348761132' post='1817868'] My first teacher taught me to float (if you mean on the pickup when on the E, on the E when playing the A, on the A when playing the D and so on) and I've stuck with it ever since. I've tried anchoring my thumb to the pickup and couldn't, nor could I work out a good reason why I'd want to. [/quote] No thats moving but anchored - floating is where the thumb never hits an anchor point but remains lightly (very lightly) resting on the strings:- http://www.youtube.com/watch?v=PPVMBPmrblU

[quote name='silddx' timestamp='1348754597' post='1817771'] Such a shame I can't make it this year [/quote] Wont be the same without you galavanting about thats for sure!

[quote name='alexclaber' timestamp='1348750470' post='1817703'] Does anyone have a Jazz or Precision (or both!) that they're bored of and fancy sending to a new home? Think I need some more normal basses for demoing Barefaced cabs on t'interweb, don't need anything new/shiny and quite happy to have a Squier or suchlike. As long as it sounds good unplugged I'll be happy, electronics can be changed. And I'm ok with stupidly high actions and fat necks. Anyway, if you do, bring it along! I'll be interested to hear what everyone makes of the wee prototype I'm bringing along... [/quote] Ooooh is that the weee prototype I think it is???

Thats been my stipulation every year, whatever you do don't expect much

Muting is totally where its at....

Floating mainly since I started playing a 5 string

Omnomnomnomnom.....

I'll bear that in mind - ta!

Hope so Eude dude!

[quote name='charic' timestamp='1348639855' post='1816204'] Damn, I was looking forward to trying the ead :-( [/quote] +1

[quote name='shizznit' timestamp='1348565443' post='1815152'] Knock it off 51m0n!! You know that have serious GAS for a Berg HD410!! This is not helping [/quote] You've probably still got time to nip up to Bass Direct and get your HD410 in time the SE Bass Bash you know:- http://www.bassdirect.co.uk/bass_guitar_specialists/Berg_HD_112_210_410_212.html I'm just here to help, what can I say

You may just have a fetish for heavy things??

I'm only interested in getting the right instrument for me, which means it must play incredibly well, have a tone that makes me find it irresistable to pick up and play whenever I walk past it (acoustically and amplified), it needs to be light because I have a dodgy back, and look great (to me). I ended up with the Roscoe, because it ticks all my criteria, and I love the thing, I really do. But the minute you step away from the Fender basses (at least in look) you are exposed to a frankly bizarre fact. If you are trying to get into a band and you don't play a Fender, you are walking on think ice. I've not got into a band before now because, although I was alledgedly a perfect fit (according to them) I didnt play the 'right' bass. They even asked if I was going to be buying a proper bass soon - oh how we chuckled - which made them not a perfect fit for me anyway, but never mind eh! Its not like the Rosoce actually looks like a fancy bass, it doesn't have an outlandish shape at all, doesn't have a really fancy top, just a plain bit of Swamp Ash with the grain slightly enhanced. Yet it simply wasn't a Fender and that didn't 'work' for them. Weird. I wouldnt play a Fender because it doesnt fulfill my criteria. Not for any other reason, they can sound lovely (except for the B strings on the 5ers), I've never found one even close to the Roscoe's playability, and they just look a bit naff to me, and are waaayyyy too heavy as a rule. Find the right instrumetn for you, and play what you want on it.

[quote name='shizznit' timestamp='1348565443' post='1815152'] Knock it off 51m0n!! You know that have serious GAS for a Berg HD410!! This is not helping [/quote] Mwahahahahahaaaaaaaahhhhh....... Oh, err sorry

http://www.youtube.com/watch?v=5DyC02BM_P4&feature=related

If I had the space and the roadies......... I didnt go for the ae410 for anything but tone and fit into the car though, the weight is only just a bonus as its still a struggle as a one man lift (esp compared to BF cabs for instance). I really need to hear the magic missing thing (I havent noticed anything I'm missing yet), but to do so I think you really have to compare two versions of the same cab from the same manufacturer one loaded and tuned for ceramic and the other for neo. So that would mean if someone can bring along an HS410 or HD410 to the SE Bass Bash we could do a meaningful comparison Anything else and you aren't really comparing like with like, and there are too many other variables clouding any judgement you make IMO.

[quote name='benthos' timestamp='1348502779' post='1814436'] I'll try and resist the temptation to tweak. I already get enough 'no information' looks, mostly from guitarists, when folks first encounter the TC compressor (never mind the rest of the pedal-board, with some fx in line and some via a Wounded Paw Blender) Yup, I positively love it in line, with the ability to alternate between soft and hard (knee) at my whim [/quote] Well they are guitarists..... Oooh soft knee or hard knee, now that is a good question - matroooonnnn!

[quote name='Conan' timestamp='1348500357' post='1814394'] One of these? [url="http://www.gumtree.com/p/for-sale/focusrite-voicemaster-platinum-compounder-analogue-comp-noise-gate/109101547#gallery-item-full-1"]http://www.gumtree.c...ery-item-full-1[/url] Looks complicated.... [/quote] Not really, its a stereo compressor, so you use one side or the other (or both, but lets keep it simple for now!). That halves the controls in one go! It has a noise gate/expander on the front or each channel, which I dont use (two knobs I don't twiddle). It has a single knob limiter (nothing wrong with those) that I do use, to catch any nasty spikes after the compressor section. But the metering is adequate so its trivial to set up. It has threshold, ratio, attack, release and a bass knob in the comrpessor. Which is one more knob than a normal compressor and that knob basically allows a little bit of parallel compression in the low end (ie its a bit like a bass boost knob). So you have a standard compressor, plus a bit of bass boost, into a one knob limiter. And if you come to the SE Bass Bash I will show you how to set up such a beast in about 5 minutes.....

Course you can me old mucker, knock yerself out

[quote name='charic' timestamp='1348488111' post='1814144'] I'll forgive you 51mon, just send the ae410 over my way so that I can remove the temptation for you [/quote] I'll think about it.... ...hmmmm.... ..well.... [size=5][i][b]NO WAY HOSE A!![/b][/i][/size]

They are different. They produce different side effects, give you different results, neither is better all the time, either has different merits. As ever, experiment use your ears, and listen critically, preferrably to recordings of each to determine which you prefer the sound of, and try and see if you prefer the 'feel' of playing one more than they other. There is no fixed definitive answer I'm afraid. I like it in line personally - oo-errrrr!

[quote name='benthos' timestamp='1348219085' post='1810919'] ... I'm not sure of the efficacy of running a compressor in the loop as you'd get both compressed and uncompressed signals to the amp, which to my mind defeats the object of what a compressor is trying to achieve, but finer minds that me may be able to shed more light/correct my line of thinking ... [/quote] Well what you have described there in fact is parallel compression, whereby the signal is split, one side is compressed and then the signals are mixed together again. This is a technique used a huge amount in recording, for all sorts of things. On an entire stereo buss, on a subgroup (like the drums for instance), on individual drums, or the bass. Adding eq to the sidechain input to accentuate certain areas, or filter out stuff that you dont want to affect the parallel compression is done too: depending on what you compress like this, and the type of filtering done, you can get overall effects known as Motown Compression (on vocals) or New York compression (on the entire mix) - they are completely different results based upon the same idea. The reason to do it is you can compress the compressed side really hard, slamming the nuts off it if you so desire, and mix it back in a little with the uncompressed signal (or quite alot), the result retains alot of the natural feel of the original uncompressed signal, but adds a lot of the good stuff compression brings (fattening up, musical pumping, whatever depending on the settings you use). Its a very very valid technique, which does need a bit more control than a straight 50/50 split to get the best effect from, which can be done still with judicious use of the makeup gain on the compression side on the MB amps.