Kiwi

[quote name='keeponehandloose' timestamp='1362846634' post='2005306'] and Mike Nesmiths mum invented Tipex, making a fortune! [/quote] Liquid paper, not Tippex [url="http://inventors.about.com/od/lstartinventions/a/liquid_paper.htm"]http://inventors.abo...iquid_paper.htm[/url] [quote name='EssentialTension' timestamp='1364543527' post='2027832'] Peter Tork was offically the bassist but all the earlier material was LA session players. [/quote] Peter Tork was pretty gifted given how many instruments he could play.

FFS...who on earth thought that promotional idea up?!

Try for an H. It's up the dusty end though and will require an extreme metal type pose with legs apart and all 8 fingers and both thumbs on the fretboard in order to hit the right harmonic nuances. Welcome 64k BTW, I used to have an Acorn Electron. I am a child of the 70's. I liked basic, Assembler put me off coding for life.

I caught myself staring at their tweed and waxed moustaches.

I was playing a couple over the weekend and, despite the differences in wood, a custom and a pro1 still sounded very similar to me. So I guessed it was down to either pickups or preamp. Pickups are a blunt tool when it comes to tone shaping, and because what I was hearing wasn't down to them or the wood, I reckoned the preamp has a bit of trickery in it. But I would need to test a passive Wal Pro in order to be sure.

My band's fees started at 2000 quid and expenses were added on.

[quote name='megallica' timestamp='1364210736' post='2023128'] But for that sort of money you could afford an 80's Aria SB through neck bass with great quality electronics and hardware.[/quote] Perhaps not in a 5 or 6 string format though. Those Arias are great basses but they do sound a little nasal by comparison to a pimped Toby.

You could try combining Piccato singles, I think they make a piccolo bass set. Alterantively go custom and talk to this guy: http://garrygoodman.com/round_wound_strings.htm

So many limited editions and so little time!

The thru necked Toby Pro's are great value. They didn't skimp on the wood, just the electronics and hardware. Replace the bridge and preamp with upmarket versions and you'll have a great gigging bass. I was very impressed by how comfortable they were.

[quote name='Cosmo Valdemar' timestamp='1364078988' post='2021806'] Great player, totally wrong for The Who.[/quote] To be fair to Pino, he wasn't chosen because he sounded like Entwhistle, he was chosen because he was available and had the skills and chops to learn an entire show with four days notice. His fretless lines are inspirational and sublime. His motown inspired playing with Usher etc. is less inspirational for me. But you know, he's gotta earn a crust and fair play to him for being so versatile and making people take notice regardless of the genre.

SKB bass safe has seen me right for a number of long haul trips. Most airlines will allow an extra 10kg allowance for sportsgear and instruments. But not all...like Thai Airways for example. Air NZ will though. Guess which one I ended up using? Unaccompanied baggage is f***ing expensive when insurance and clearance fees are factored in. Only ended up being a hundred quid less than paying the excess baggage fees.

Not better, both are well designed although my experience of GK has been the RB range. Shuttles are very good gigging amps for small stages and will last you an entire career IMO. I suspect I might want to move on from the MB range at some point.

I've seen the doc, its really good. He's playing in London at the end of July. Anyone feel like going to see him?

Dingus - there is no reason for anyone to believe the threats are empty. We're not intimidated, but we are obliged to act within the law and the law is very clear about what constitutes defamation. If you could pop a couple of million quid in a paypal donation, we'll think about testing the water for you though.

The frequencies were where the frequency shift controls were centred.

The standard form of basschat nonsense is usually understood by everyone.

[quote name='Dad3353' timestamp='1363904231' post='2019424'] I had been following the thread, at the time, and can confirm that there may have been grounds for protecting BC in some posts by members. I also feel that total deletion is not the best solution (although much easier than others, I'll allow...). Deletion of individual phrases or posts, replacing them with an explanation, would be more satisfactory, I would suggest. More time spent, but better than re-writing history (by deleting any and all in one swoop...). I'm a mod on another forum, and can understand the time and effort that goes into the admin and mod roles. I also would suggest that there is a deontology which goes with the role. Just my opinion, no malice intended. [/quote] The comments about Ernie Ball had been quoted by others and salvaging the thread would have required modding multiple posts and changing part of the original premise for the thread. There was nothing wrong with the observations being made, the issue was the conclusions reached about Ernie Ball as a result of those observations.

I have them as my preamp of choice. They're great. The 3 band parametric is very clean and amazingly versatile. Check with Klaus where the frequency centres of each band are. The original model had the mid and bass centres too high for bass and I asked him to lower them a little. The bass control is now around 100Hz and the mid control around 250Hz. I think the treble was around 1.3Khz but could probably benefit from being broader. I don't know if he did that only for my preamps or whether he's introduced the change permanently.

Lee Sklar swore by the double splits on his old Charvel mongrel in terms of even pick up response. I have a feeling that P-bass pickups are more hassle than they are worth for manufacturers in terms of string spacing. But you can always ask Aaron Armstrong or Wizard Pickups to make you a custom set for not much more than you'd pay for a name brand.

[url="http://www.upworthy.com/an-8-foot-tall-woman-is-destroying-the-entire-music-industry"]http://www.upworthy....-music-industry[/url] I had to share. It's a fantastic story and shows the value of trust and how damaging cynicism can be.

Aww thats sad. He was one of a handful of maybe only a handful of innovators who managed to make a name for themselves in the last 20 years.

[quote name='The Dark Lord' timestamp='1363697766' post='2015968'] It's not me. It's Basschat. I know what is very likely to have happened. One or more of the site admins (probably all of them) operate behind either no firewall or a poor one. [/quote] We use Cloudflare.

I decided to stop over on my way back to London in order to catch up with family but also to meet legendary bass technologist, Steve Chick. For those who don’t know, Steve was responsible for the original MB4 MIDI bass system that started out with Valley Arts and he later licensed the technology to Wal and Peavey. Unlike the pitch sensing technology in more common systems by Roland and Graphtec, the MB4 system created by Steve is unique in that it uses mechanical sensors to obtain all the information required to generate MIDI messages. Each fret is divided so that each string has its own segment. Each fret also has a resistor soldered to it and embedded in the fingerboard. The resistors are wired in series for each string. This means each fretted note can be identified according to the resistance it presents to the outboard controller unit rather than relying on a complicated pitch detection process. The big advantage of this is virtually no MIDI lag. Steve has had a fairly low profile in recent years, but has been active in other areas of research, including an overhaul of the MB4 system. Previous MB4 systems weren’t able to detect pitch bends, but thanks to strain sensors in the bridge the new system can. Steve has also struck up a working partnership with renowned Sydney luthier Charles Cilia to produce a complete instrument that takes its dimensions directly from a ‘64 Jazz Bass owned by a friend of Steve. So what is it like to play? The first thing that jumps out is the absence of lag compared to the pitch to MIDI system in my Shuker Headless 6. Thanks to the mechanical sensing, triggered notes sound immediate. I tried both 4 and 5 strings and there was no noticable lag even on the B. Both polyphonic and monophonic modes are available and Steve activates another mode which takes the dynamics of the string attack, sustain and decay and uses a form of subtractive synthesis to apply them to the MIDI signal. The result is a MIDI signal that sounds much more responsive to player dynamics. It’s also possible to do hammer ons and glissandos without plucking a note with the right hand…and the system even senses harmonics! The system is pretty much capable of sensing any bass playing technique including popping and snapping. However it's also still capable of creating false triggers with sloppy playing. Allowing for this remains the biggest challenge for any MIDI bass system. I tried a variety of right hand techniques and the least effective was the standard two fingered overhand technique mainly because I kept patting the strings to keep in time between notes. It was an old habit but not one that sits with note sensing very well. I had the best results by using a banjo claw-hammer technique which allowed me to play very fast and clean triplets in a way I could never dream of with pitch-to-MIDI. Steve suggested a classical guitar technique also works well because the strings are plucked cleanly. The range of sounds available are only limited by the synth you plug into the wireless transmitter sized convertor unit. Steve explained that there is a lot of scope to customise how the system in each instrument responds to a players technique. For example, it’s possible to filter out sensitivity to fret noise to reduce unwanted triggers. It was at this point Steve showed me his latest idea to address the technique issue – a prototype "Chickpick". This is basically a rubber sheathed metal pick which transmits a radio signal to sensors in the instrument every time it makes contact with the string. The idea is that by using the pick to play notes rather than fingers, there will be a specific and definite trigger for the note making cleaner playing much easier for those who are used to using picks. In use, the pick definitely did the job, although I was still getting false triggers because the action on the instrument was high and contact between the string and the fret just prior to plucking was also triggering – something Steve said could be dialled out with lower action and further sensitivity tweaks. Luthier Charles Cilia sat in with us and demonstrated the guitar version of the MIDI system. He played with astonishing facility - tapping, pinching harmonics, whammy bends and playing power chords, all perfectly tracked by the system. All in all the technology was very, very impressive. There is no question that this is the best MIDI sensing system in existence. However any system will require a high standard of right hand technique to get the best out of it. I discussed this with Steve and suggested potential development to make the optimisation process for players easier. For those who are comfortable with clean right hand technique, a staggering, new world of possibilities opens up where the player feels fully engaged with the synth. At the moment the full bass system isn't cheap and maybe out of the reach of many players. But Steve has been giving that some consideration also, so watch the website ([url="http://www.industrialradio.com.au/products/index.php"]http://www.industria...ducts/index.php[/url]) or subscribe to the Industrial Radio facebook page for any announcements in the future. Steve Chick

Anthony Jackson and Billy Sheenan definitely impress me. Tom Jenkinson is technically proficient but his playing leaves me cold. Victor Wooten definitely grooves and there's no question he's a virtuoso but I'm probably in a minority in that I just don't get where he's coming from. By contrast, Sharay Reed's playing is deeply musical although he's not as technically gifted as Tom Jenkinson or Victor Wooten.