Kiwi

[quote name='obbm' post='353595' date='Dec 13 2008, 02:43 PM']If you are prepared to drop it down to me I'd be quite happy to trace it out and draw it up. It might make a good pre-amp for my SC200.[/quote] Yeah I can drop one down to you some time. It would need to be fairly soonish as I'm moving out of London on the 23rd. In fact, tomorrow would probably be best?

[quote name='obbm' post='353504' date='Dec 13 2008, 12:50 PM']Do you have a copy of the Burman 4000 pre-amp schematic?[/quote] No, unfortunately I only have one for the Pro501 guitar preamp. If anyone is likely to have put one togther it will be Traceynorton on the Plexi forum. I've sent him pictures of my Pro4000 in the nude already but he's in California so there's little hope of him actually getting his hands on one for the forseeable. I could take mine to Barry at Torres and pay him to work one out I guess. Barry reckons I'm looking at up to £2k for a custom one off 400w rack mountable head based on the Burman though. The thing is though that both my Burman Pro4000's sound different. The later model has more gain but my amp tech in Chiswick says he can't see any differences between the values of the various components being used. I may well just put it on the back shelf unless I discover an amp that has been severely battered during its life and can be cannibalised

[quote name='obbm' post='353359' date='Dec 13 2008, 09:07 AM']A friend of mine uses a Harry Joyce Custom 100-watt head. Engineering perfection.[/quote] This was a guitar amp? I've been approaching a couple of amp makers to see if they could replicate the preamp from my Burman and expand the power amp section to take the power up to 400w. I tried my fave Burman head again this week and with the Celinders and Stingray I fell in love with it all over again. :wub: It leaves the Trace V8 dead in the water for sweetness and midrange warmth. The Trace sounds more raw and boomy by comparison, but as we all know the response of amps and cabs changes with volume.

I reckon the key to Edwards playing is to loosen up and play like you're stoned. He does play some fairly stacatto notes on Le Freak but his timing is so laid back that its almost like he leaves it until the last possible millisecond to play each note before it loses the pocket. I noticed your feel, Rob was pushing the beat a fair bit and driving the song along which is really what the guitar does on that track. From experience its utterly impossible to play in such a laid back way unless you have a drummer whose timing is very predictable. It takes a lot of practice and while I can do it during practice, I've more or less given up trying to do it live because the drummer can't play with the same laid back feel (in fact originally when we played this, he slowed down so he can play on top of the beat and then I played slower yet to stay behind him). Instead of emulating Bernards playing, I tend to leave the note until the last millisecond of our drummers pocket. Its not the same feel, but it has to do.

I'm no legal expert but I'd imagine it would be a matter of registered trademarks, if the design doesn't serve a practical purpose. This is how companies such as Fender and Gibson have dealt with these things. I have heard similar things to Tombboy about the assertive manner in which EB protect their trademarks.

The problem i find with a lot of effects is that i can't hear the pitch properly after they've been applied. However, I do have some patches where the signal is pitch shifted up and octave and I apply effects to the shifted path in the same way I might with a guitar. Works out really well. I also use a fair bit of synthbass too, but when I add chorus to it the sound gets a bit muddy.

[quote name='bilbo230763' post='352592' date='Dec 12 2008, 11:57 AM']Jazz bassist, Dave Holland: "When you find yourself struggling against the challenges of the music industry and your rent's due, those are the difficult times when you are tested. Each musician has to make their own decision about how they want their music to serve. When you make the commitment to stay true to your musical voice instead of giving into the temptations of some fantastic offer, that is when your music gets stronger. That's something I see as a positive result of this commitment: renewed energy. In the end, people do recognize that commitment."[/quote] How many jazz standards has he played in his career then?

I've got 5, one in Leeds next Friday and the rest are London/Home Counties. Then its a break over Christmas so I can settle in to the new digs and then off to Dubai via Cairo on the 28th for New Years! Wooooooooooo...

Just thought I'd mention this in case anyone was interested. I've been tipped off that the Bass Centre have a very, very nice black 78 Fender Jazz on consignment that they're looking to shift fairly smartly. It's in extremely good condition, plays nicely and although price is about 1995 on the site, they are prepared to haggle a discount. [url="http://www.basscentre.com/product.asp?pID=797&cID=87"]http://www.basscentre.com/product.asp?pID=797&cID=87[/url] They also have a Wal Custom fretless 4 in with a maple facing, the asking price is 2500 quid but again they might be prepared to haggle.

I can't see enough of the bass in sufficient detail to be sure, but there's nothing at the moment which is raising any alarm bells for me.

in writing its often used like a short 1 chord turnaround

Estelle's "American Boy" Rhianna's "Don't Stop The Music" Demanding, but I persevered and made it through in the end.

[quote name='Waldo' post='350553' date='Dec 10 2008, 11:58 AM']Nothing will ever beat the use of the word 'larruping' to describe a bass.[/quote] +1 Even my chinese gf found it funny.

I really like the sound of F-basses. Great find! Congrats!

[quote name='BigBeefChief' post='350427' date='Dec 10 2008, 09:52 AM']CK - that quote has made my day![/quote] Well, when you're young, stupid and at art school anything seems possible.

[quote name='wateroftyne' post='349429' date='Dec 9 2008, 09:56 AM']It's not practical, as you'd would need to take a sofa with you to keep the remote wedged in.[/quote] LMAO [quote name='skankdelvar' post='350350' date='Dec 10 2008, 01:28 AM']Or find a bass amp with midi (is there one?) and use a pedal board mounted midi controller with presets?[/quote] Yes, there's the [url="http://www.clivebutton.com/Trace/pages/Mp11.htm"]Trace Elliot MP-11 programmable eq[/url]. But they're very uncommon, especially with the foot controller. I used to have one and as a preamp they're a bit inflexible but still useful if you need just a programmable eq. There's also the [url="http://www.whycalvary.com/ADA_MB_1/index.htm"]ADA MB-1 bass preamp[/url], arguably just as uncommon because ADA went out of business years ago but perhaps more feted on the other side of the pond. Also the [url="http://www.guitarcenter.com/Tech-21-Sansamp-PSA1-1-Preamp-480041-i1145233.gc"]Tech 21 PSA-1 Sansamp MIDI preamp[/url] and the [url="http://www.dolphinmusic.co.uk/shop/flypage/product_id/13080"]Rocktron Blue Thunder[/url] preamp too. There are any number of multi effects units out there with programmable eq settings as well.

[quote name='Davemarks' post='350216' date='Dec 9 2008, 09:45 PM'](in which I play the most traitorous of tricks... guitar!)[/quote] For a second I thought this might be the Abba tribute band, Dave...

[quote name='alexclaber' post='350149' date='Dec 9 2008, 08:21 PM']That's why I don't like chopping off a load of cab volume to make it tiltback, because every extra cubic inch helps with getting an authoritative B string.[/quote] Yeah but the GK combo was good enough.

[quote name='Jase' post='349443' date='Dec 9 2008, 10:18 AM']I'm quite surprised actually, always thought graphite was a vey stable material for necks. Keep it coming [/quote] Its all down to the construction. Status, Modulus, Vigier, Schack all design their necks to be stiff using layers of graphite weave impregnated with resin. Moses designed their jazz necks to sound like wood, so they use basically a construction process that relies more on resin and MDF for structural rigidity without the weave. Both have phenolic fingerboards and its the fingerboard which is key to getting the neck stiff enough. Status and Modulus got it wrong too at various points in the past, as I've mentioned on other posts. The resin based construction is also what allows Moses to offer their necks cheaper, there's less labour involved in their manufacture.

[quote name='alexclaber' post='350090' date='Dec 9 2008, 07:11 PM']Ah, but I don't want to do just 'good enough' - it has to be great! Don't you think a 12"+mid with the same external dimensions as The Compact and then a tilty thing so you could tilt it at two different angles (~30 and ~45 deg) and have the cab either vertically or horizontally aligned, would tick all the audibility boxes whilst also making it easier to carry and giving better bass response? Alex[/quote] If you make it light enough, and fit [url="http://www.usspeaker.com/faital%20pro%20index-1.htm"]Faital drivers[/url] I'm sure it will be great. In principle I have no problems with a 12" cab, but it needs to be able to handle a B string with some authority. I can't comment on the tilty thing really until I see a sketch or something. So long as it doesn't walk around the stage when I'm pumping away I guess.

[quote name='alexclaber' post='350064' date='Dec 9 2008, 06:48 PM']I thought you wanted an angled cab and I kept saying that the cost in low frequency response made an non-angled cab plus a tilt mechanism more logical? Still working on that, am getting very frustrated with unresponsive potential suppliers![/quote] Indeed you did, but I did make the point that the GK RB700 1x15 wedge combo I had worked fine for me. So if you fancied doing something with the same dimensions but lighter and more rigid, it would probably be good enough.

I haven't met Sian or Corrine yet. I'm open to offers from Abi though :blush: