Kiwi

[quote name='Happy Jack' timestamp='1371400861' post='2113387'] You have a problem with Rachmaninov? [/quote] If he's playing disco, you bet.

Good luck with that - maybe the Armstrongs designed the Aguilars too!

[quote name='pantherairsoft' timestamp='1371378915' post='2113061'] Kiwi. The Arpeggiator, IMO is the weakest part of the pedal, and my least used part of the pedal, while it has some flexibility it is not 'fully programmable'. I have used it live on a couple of tunes and fed it some fuzz/filter synth combo's with no problem. I've done no MIDI cc work with the pedal at all though so can't comment either way, I just don't use MIDI like that. It seems pretty damn bang on for MIDI clock though, more accurate than most. Aside the arpeggiator i don't use the synth section too much. It's great, but oddly labelled... It's basically an organ simulator with some nice effects. The sounds i consider to be 'synth' are accessible in the Octave section. As for the input/guitar thing. I'm not so sure. Maybe in original conception, but since you can change the input to 'bass' &/or 'synth bass' in the menu (and I have noticed a difference to the response in doing so) I'd argue that it's been built with a range of applications in mind. Plus, one of the DSP engineers at Eventide (Russ) is a bass player, so it was designed with bass players in mind to some level. [/quote] I'd suggest Russ needs more influence! The point I made to Eventide about this pedal was that is has so much potential as a stand-alone synth bass pedal for bassists. The synthbass patches are a little weedy sounding compared to the Deep Impact but it tracks just as well if not better and it has more waveforms available. I like the octaver too, it also tracks really well and the chorus patches are very clear. As a (former) gigging player I don't need to be "creatively inspired" by shimmery stuff, harmonising and psychedelic warping. If they cut all that out it would make more room for bass synth and arpeggiator functionality. I believe improving how the waveforms sound would make this pedal a Deep Impact beater by itself - add to that full arpeggiator programmability and I'm convinced would redefine the standards for synthbass pedals. As it stands maybe they're trying to please everyone Shep. But I've made my points to them already so it's their choice over whether to realise the potential of the technology specifically for bassists. All it might need is a software update!

[quote name='discreet' timestamp='1371417820' post='2113756'] AAARRRGGGHHHHHHH!!! NOOOOOO!! [/quote] >:-)

[quote name='White Cloud' timestamp='1371336289' post='2112796'] There is no absolute decree that these rules MUST be adhered to. [/quote] I agree, but they DO exist. [quote name='Count Bassy' timestamp='1371337219' post='2112808']. Surely the whole point it is [u][b]his[/b][/u] signature bass, and as such it's not for anyone else to tell him what it should be like. [/quote] I'd suggest the whole point for Warwick is to sell basses to the public in whatever way possible. And if that doesn't happen, at least get forums chatting about it just for the profile if nothing else. You're all playing The Game BTW.

Hi Enzo - of course and I agree to an extent. I'm sharing my experiences of having installed a pair of Aaron's pickups in my own Celinder J Update. I was very happy with them - they sound better than the authentic article to be honest. Funny thing is that Aaron and his father Kent have been making and designing pickups for some of the worlds most renowned bass brands since the 70's - Smith Basses and Status for example. They probably sell more under other names than they do under their own. I've tried the SD Antiquity in a Geddy Lee jazz and didn't rate them. [size=4]I'd put money on Aguilar having approached a company and commission a pickup in a similar way to be sold under their brand in the same way that the Armstrongs have been approached.[/size]

Er...maybe not. If I was writing the set list, I would have removed everything with strings in it and everything that that was less than 100bpm. And I would have chucked in a few modern club remixes. At the moment it looks like the set list has been chosen by a classically trained pianist.

Oh blimey - that might be just up my alley. I'll have a look at their set list.

[quote name='cloudburst' timestamp='1371389430' post='2113204'] The Basschat marketplace used to be really vibrant. Some really interesting stuff came up pretty much every day, giving the site a real constant "draw". It seems now that this consistent trading has pretty much died off. Has anyone noticed this? Is it just me? Are there any other sites (apart from Talkbass) that still have an interesting marketplace? CB [/quote] Clearly we're suffering from the lack of Rickenbacker content. Oh well.

Blimey - how ambitious is that! It'll be interesting the watch the outcome of this.

[quote name='MarkBassChat' timestamp='1371226491' post='2111465'] Switching from 9V to 18V does not provide any extra boost. It provides only some more headroom which is not the same as extra boost. So switching from 9V to 18V does not make much difference/sense. Mark [/quote] This. 18v means you just get clearer peaks...i.e. more headroom, not more boost. So think of it as more hi-fi if you like. Not more powerful.

[quote name='Enzo' timestamp='1371356505' post='2112864'] No, they are called '70s wind because they are supposedly put together to be similar to those years [url="http://www.nordstrandpickups.com/bass-pickups/index.shtml"]http://www.nordstran...ups/index.shtml[/url] We'll see... [/quote] Aaron Armstrong will do you something similar and with more warmth than the 70's originals.

Homer does H&S for a living. Might be worth tapping him up for some advice too?

[color=#282828][font=helvetica, arial, sans-serif]I bought this pedal used off Ebay for $400. I gave up trying to find one for less after looking for a long time but you can find them for as little as US$320 if you're lucky.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]As always with complicated bits of technology, I refuse to read the manual citing the quality of the user interface as being the best way to judge the thought and consideration that went into the design of the kit. So I powered up and predictably I got totally lost...mainly because the function of the knobs changes with the mode its in. [/font][/color][color=#282828][font=helvetica, arial, sans-serif]It's a very, very complicated (sophisticated?) beast across all the modes and focusing on one mode at a time definitely helps to understand the unit more quickly and thoroughly rather than just diving in and learning iteratively. [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]There are various pitchshifty, tinkley and whoopy doo dah settings but I was most interested in the arpeggiator. I did a bit of knob twiddling just to see what might happen and got various changes from the unit which didn't lead to any greater level of understanding. [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]So I finally caved into common sense and opened up the quick start guide and it made a few suggestions to simplify matters a bit which I followed. [/font][/color][color=#282828][font=helvetica, arial, sans-serif]After an hour of mucking around I managed to get a pretty good grasp of what the Arp settings on the knobs do. Its quite old school in how the tones are generated and manipulated in that there are various generators of sound that are then modified for rhythm, attack, timing and speed.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]You have a choice of two arpeggiators, you can add a LFO, filters and waveforms. The best approach to take is to set a pitch shifting pattern (up, down, up and down, and endless more random variations on that theme) and modify it with a filter which sort of chops the swoop up into distinct sections that are either voiced or muted according to the pattern selected.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]I like how the knobs allow real time adjustment. I like how a more contemporary approach has been taken to the use of LFO's and filters. However I couldn't help but think that Eventide might have been better off with a series of LCD displays under the knobs so that their change in function could be interpreted more easily. Eventide already use LCD displays in their avionics products too so potentially have access to the expertise.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]The quality of the sound is something I'm still zoning in on. The processed dry signal did sound a little sterile with bass. The Deep Impact works with it and the arpeggiation was pretty neat, especially with tap. Ideally I would prefer to have one tap button for sending tempo info to everything so may have to look into MIDI patching with the PF in a little more detail.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]I guess the biggest issue I have is that the pedal is way too complicated for a tool. I don't buy into the inspiration thing or the musical dream, I just need the kit to do a job. This is one of the strengths of the Deep Impact pedal. Its not the most versatile pedal but what it can do, it does very well. [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]So I can't help that while the pedal is appears very robust, is fairly well engineered and capable of doing things with pitch shifting that would make you hope your Boss PS5 was over 16 and came from a liberated family; the marketing behind the pedal seems unfocused. [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]If the pedal is for tweakers, it might be better to release it with USB software interface to permit better access to the various parameters and time efficient mucking about. If it is for serious musicians, I think the pedal needs a heavy dose of rationalisation. Otherwise I think it risks being seen as an over priced toy for bedroom musicians rather than a serious tool for gigging pros. [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]I wanted it to do the arpeggiated bassline from Georgio Moroder/Donna Summer's "I Feel Love". Unfortunately there wasn't a preset that offered the right pitching, so i'll have to investigate how to create the right pitching as a user preset. However the 1/16th note rhythm pattern was. So I mucked about with that for a bit instead. Acccording to the Eventide forum, the pedal's arpeggiator function CAN be programmed but only via the MIDI port using cc messages. This isn't convenient for most musicians and to be honest, its just suggests that Eventide don't know the market for this pedal beyond a very limited demographic.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]I[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]like the pedal but can't help but think that if it was less complicated and focussed on applications that had been done in songs we all might know, the pedal might have broader and more pragmatic appeal.[/font][/color]

Maybe I need a few pointers then Shep. I bought it for the arp function primarily - its the only pedal on the market which offers full arp but bafflingly, Eventide didn't provide access to full programmability! So if I want to replicate an arp setting off a song and run my Deep Impact through it, I'm screwed. The other annoying thing is that the pedal is being marketed squarely at guitarists if the patches are any indication. So this takes more fiddling about than should be necessary (for example - pitchshifting intervals). I took it up with Eventide a year ago, who said they'll discuss it at their next roundtable but I've heard nothing back, despite chasing. Left me feeling a little disappointed to be honest. The ironic thing is that this pedal's arpeggiator CAN be programmed via MIDI cc messages according to one of the users on the Eventide forum. So it appears this pedal has so much potential for bass that THE DESIGNERS haven't realised yet. That's just slack in my book. It doesn't do the job I bought it for so I'm in two minds about whether to sell. Will make my mind up once I get my hands on it again.

And the other purchase last week from member 'James' was a lovely 1975 Fender Jazz. In 27 years of playing, this is the first Fender I've ever owned. I'm no expert on them but this one seems light compared to others I've played, the neck appears to fit snugly and is very straight. I have managed to set it up now for very low action although I think a couple of frets at the dusty end could do with a bit of a re-seating. The instrument is all original apart from a badass bridge. The body appears to be four piece (there's a small piece of extra wood sandwiched in on the lower bout) and it has a 4 ply pickguard. The bass so far sounds fairly miller-ish - more so than my Celinder after the pickups were swapped for more vintagey sounding versions. Kind of wish I had my EBS Microbass II with me so I could play around with some settings. Then...finally...I collected this off Old Horse Murpy yesterday. A minty EBS Session 60 combo. Does the business very nicely for practice purposes. Practice combos have come a LONG way since I took up bass. Back in the 80's an amp of this quality and price would have been the stuff of futuristic fantasy. So the collection (across two continents) currently stands at: 1979 Alembic Series 1 (graphite neck) 1996 Celinder J Update (Ol' No. 2) 2002 Celinder P Classic (with a factory installed J neck) 1975 Fender Jazz 1979 Musicman Stingray 1985 Pangborn Warlord (graphite neck) 1993 Pedulla Pentabuzz 2009 Shuker Headless 6 (with Graphtec MIDI) 1998 Spector NS5CR (34" scale) 2000 Spector NS5CR (35" scale) 1985 Steinberger XL25A Pedals: EBS Microbass II Akai UB1 Unibass Akai SB1 Deep Impact Eventide Pitchfactor Backline: Genz Benz Shuttle 6 Trace Elliot V8 Burman Pro1000HD (late 70's, road rashed) Burman Pro1000HD (1984, mint condition) Rack 1: Lexicon MPXG2, TL Audio 4 band parametric valve eq, Peavey DPC750 power amp Rack 2: Axon AX100 pitch to MIDI convertor, Roland JV1080, MIDIman 16 channel mixer (which can be plugged into Rack 1 via the MPXG2 effects loop) EBS Neo212 x2 I'm also in the process of booking some course time with Jon Shuker for a very, very special build later this year which will result in two more basses but of my own design (fretless and fretted 5 string headlesses). At that point, I might be considering a little rationalisation of the backline at least...not sure I need all the refinement of a rack when it's easier to take the GB Shuttle and something like a Zoom B3. I'm still on the hunt for a pair of lightweight, tiltback cabs though.

OK its been a while since I've updated this. Sure enough, return to the UK has resulted in being hit by GAS again. First purchase was opportunistic - Ashley Pangborn Warlord with a graphite neck. As you can see, it's seen better days but the issues are only cosmetic. The finish is extremely thick in places and has clearly cracked due to temperature fluctuations (apparently it had been stored in a shed at one point). The neck is precision-y in profile and has an ebony fingerboard. The finish is a black tint on some kind of lightweight wood...not sure what. Could be swamp ash I guess. The grain is too distinctive to be basswood or alder. Sound is very much like a mid 80's Status Series II on the bridge, a little warmer and unfocussed on the neck. The pickups were made by Kent Armstrong who I understand may have made the original GMT versions for Status. The electronics work great and the mid control is dialled in perfectly on the honk of the bridge pickup. I personally like wide bodied basses very much and this one is extremely comfortable. The neck profile, screw in logo and aluminium fittings suggest it might be a later version (circa 1985/86) and the lack of exotic top and brass hardware suggests it might have been built to a budget rather than an aspiration. So, all in all its a bit like the bastard love child of Jaydee and Status. Needs refinishing though - any suggestions on colour? I was thinking pearl white at one point...but CAR might be nice too.

[quote name='MiltyG565' timestamp='1371310682' post='2112461'] You don't really have to follow those rules in music, BUT, we are talking about design, not music, and design has many rules. [/quote] There are design principles (such as form follows function) but they're not rules. With design, the process is just as important as the outcome. So the principles can be side tracked if there is enough justification. Basschatters might be justified in asking 'what sort of process did Warwick follow in developing this instrument'? The additional context might help them understand how Warwick arrived at the outcome they did.

LOL Luckily you didn't hurt the amp. Good on Dawsons for following through though.

[quote name='White Cloud' timestamp='1371290849' post='2112170'] We will all have our own opinions on this bass but the bottom line is that music is creative art and therefore there are no rules. [/quote] Of course there are rules in music... sonatas, movements, madrigals, ANY piece by Bach, three minute pop song, intro/verse/verse/chorus/verse/chorus/bridge/solo/verse/chorus/repeat and fade, root fourth fifth, first third fifth....bottom line is this is a piece of industrial design not a specific genre of music that deliberately avoids riules such as avante garde jazz.

I think it's just a pants wettingly intimidating piece of machinery - just coming to terms with how something so big can defy gravity was my first challenge when I saw one at Farnborough many years ago. For those who haven't already visited, the air museum at Duxford has one on display (as well as a concord). I can just touch the wing when I stand under it. Its an absolute shame that XH588 WILL get retired eventually. So catch her while you can and donate! [url="http://www.vulcantothesky.org/news/468/82/We-launch-Operation-2015.html"]http://www.vulcantot...ation-2015.html[/url]

1) My Spector NS5CR through almost any kind of Class D amp into my EBS 212 neo cabs. Enough warmth to sound full without being overwhelmingly boomy, shedloads of midrange growl. 2) Pedulla Pentabuzz through some kind of chorus into two GK RB700 combos, loud enough so that the strings start being sustained by feedback.

Rich bought my SWR Triad cab when I lived in Plymouth and recommended I check out Bassworld. The remaining 10 years have been a blur. But Rich also recommended I get an Akai SB1 when they were still 90 quid. So not all bad.

Are you sure you aren't over generalising just a bit there ff?

Alembic did it in the late 60's and it was a fairly elegant solution using brass rails...almost steampunk in its aesthetic. They did on in 1978 as well - much more modern and neater execution of the brass rails idea. Gibson, Westone and Spalt have all had their own take on the idea as well with varying degrees of success. I've often thought about better solutions and I've managed to come up with one that doesn't require any hole.