Kiwi

I've got both Schaller and Boston sets, there's virtually no difference between them although the Schaller has the slight edge in terms of fit and finish as you might expect but they still do the same job as well as each other.

Last time I spoke with him a couple of weeks ago it was supposed to be getting sprayed last week. I can't wait to see what the top looks like wet - it should very dark and chocolatey. That reminds me, I called him at lunchtime for an update and he wasn't in. I'll give him another call now...

I'd have to add to the support for the Pedulla. I have a Pentabuzz as many of you know and swear its the best fretless hands down. It takes on a life of its own when you stand next to an amp on stage and let it feedback gently. I really couldn't ask for more sustain or mwah. I have changed the pickups on mine with excellent results though as I felt the barts didn't give enough mid range or clarity. If you can mate yours with some kind of filter based preamp like the AGC or the Alembic Q filter eq (like I have on mine) then you'll be on to a real winner. In any case whatever fretless you go for, I think the neck ideally should be as stiff as you can find if sustain is important to you.

FWIW, Nard didn't collapse on stage. If you get the Budokan DVD you'll have his final performance right there. What's particularly poignant is that just before he introduces Nile he mentions he's got a touch of the "Tokyo Flu". Little did anyone know he'd be dead 2 days later. Utterly, utterly tragic. As for Jill Jones, if you take a look at the intro section when she does her solo bit, she sings a version of "this old man..." with a few invented lines that don't make any sense whatsoever. I've managed to catch Nile Rogers online in chat a couple of times and asked him about that bit. He wondered if she might have been high on something as her judgement was way off. The thing I learned most from Nards playing was the art of playing behind the beat. Its definitely a mind set thing that playing so relaxed.

some one sent me a promotional copy of a novel they'd written about a bass player, I don't think its been widely distributed but I'll see if I can dig it out when I get back to the UK.

I went into a few musical instrument shops here in Bangkok yesterday and the two that had anywhere decent instruments (a pair of Sadowsky basses in a locked cabinet for example) got VERY sniffy about me literally [i]touching[/i] even their most basic of instruments. I immediately lost interest and walked out. I mean, with an attitude like that what's the point of even having instruments on display? Why don't they just have posters of the instruments stuck on the wall and the real basses out the back of the shop? (BTW, there's a [url="http://www.siambass.com/"]Thai bass forum[/url] as well! Awesome!)

[quote name='sixshooter' post='280466' date='Sep 9 2008, 04:23 PM']Guess that blows the theory out of the water that there was only 70 something built twice over [/quote] heheh Yeah, I get the feeling there might be a hundred or so around.

I'm sort of dabbling in this myself and I know Brokendoor has been using a MIDI system for quite a while now. You can choose to go down a number of routes depending on your budget and playing requirements but there aren't any super cheap options. The cheapest way is probably to get a MIDI pickup fitted to an existing instrument, such as those made by Roland, Yamaha, Shadow or Graphtec. You'll need a pitch to midi convertor unit such as the Axon AX100 or AX-50 or one of the proprietary units made by Roland or Yamaha. The advantages of pitch to midi are some pitch bend information. The disadvantages can be tracking and in some cases MIDI lag (the time it takes for the waveform to be sampled and converted into a pitch). However the Axon system is supposed to be one of the best convertors as it relies on a neural net which has already been 'taught' to recognise the pitch of a waveform before its recieved a full wavelength. The net also needs to learn how you play which can take about half an hour to do according to Axon. The more recent Graphtec GHOST pickups can be embedded into a bass bridge so no unsightly third pickups velcroed into place. Another option is to go down dedicated bass controller route. You can find systems by Peavey MIDIbass or Cyberbass. They're fitted with the same fret switching system that was fitted to Wal basses - Peavey bought the patent from the original Australian designer, Steve Chick. This system was also originally fitted to Wal basses (the MB-4 or MB-5). You'll need to make sure you get the rack mounted conversion unit with the bass as well. The advantages are a pretty quick conversion time, the disadvantages are that you won't have any kind of pitch bending facility unless you do it with a pedal or other kind of separate controller. You can also get quite a few false triggers if you're used to doing stuff like tapping the strings along with the bass drum when you're resting in any phrases. Finally you can always purchase a set of bass foot pedals much like those used by organ players or Geddy Lee. The advantage is no lag, the notes are generated as MIDI at source. However you'll need to be sitting down if you need to do any quick phrases. I've gone for the Graphtec GHOST system with an Axon AX100 controller but I haven't purchased all the kit yet. Reports suggest there will never be a MIDI bass set up that can compete on an equal footing with a keyboard based set up.

[quote name='stingrayfan' post='278994' date='Sep 7 2008, 10:38 AM']Did a private party in a field in Windsor for a guy who stages it for his birthday every year. Dodged the rain to do the load in, set up inside a big circus tent type thing, rain started again and the thing started dripping onto us. We'd plugged everything into trip switches but it was looking like we were going to get fried. Talked about bailing out so the tent people swung into action and built another tent canopy over us, the rain then stopped, so we went for it.[/quote] We did a party near Chelmsford last night in a marquee. Made a change from a wedding - we had a good BBQ although it was very much a Carlsberg version (loads of meat and hardly any salad). However we all had two desserts afterwards! Heheh. It absolutely pissed down outside as well and we had issues with drips but thankfully not on stage. The punters took a while to warm up and it wasn't until the girls actually left the stage and physically dragged the punters up onto the dancefloor that everyone started dancing. It was like they needed our permission or something. We had a dep keyboardist who wasn't really up to scratch so I don't think we'll be using him again. He kept missing out large sections of some songs and didn't know others at all (like Mercy). The drummer and I were on fire though, tight as a tight thing and he was playing in the pocket so I could play my ass off instead of trying to lock him down.

[quote name='Adrenochrome' post='278998' date='Sep 7 2008, 10:46 AM']I'd be running Neodymium cab(s) with a class D head right now if I had the cash. Weight is a big issue when fuel costs are high with quite a lot of driving to gigs.[/quote] Its a successful combination for me. I don't think it makes much different to fuel costs where my driving is concerned though

You guys have done some outstanding work here Nik. Thanks so much!

hi shaker, welcome aboard!

some more information that I found FWIW [url="http://www.speakerplans.com/FORUM/forum_posts.asp?TID=12354&PN=1"]http://www.speakerplans.com/FORUM/forum_po...=12354&PN=1[/url] [i]"there should be no difference in the heat dissipation with the magnet being neo or ferrite. the amount of heat in the rear chamber is down to the electrical energy dissapated in the voice coil... ...neo magets are used to give the same flux denisty as a ferrite one, but with a smaller (less mass) magnet it would be fair to say the [u]i have heard of some problems with neo magnets shifting [/u]when moving cabinets shortly after heavy usage. either way i have no experience with the driver mentioned."[/i] [url="http://www.neodymiumloudspeakers.com/"]http://www.neodymiumloudspeakers.com/[/url] [i]"Pictured above the B-Hive Motor. Neodymium Ring Magnet. [u]New ribbed design to increase heat dissipation[/u]"[/i] (and enhance pleasure?) I make no guarantees as to the accuracy of this information BTW. Some members on speaker forums say the neo magnets are more expensive which, according to one pickup maker I've talked to recently, is completely untrue. I've owned and gigged a neo cab for nearly a year and had no issues at all. There's a slight mid range hump but thats a positive, I can hear myself better.

The Eden forum would have you believe that neo magnets are more susceptible to heat fatigue and have a shorter life. I've not managed to find anyone who has experienced heat dissipation issues or ever had magnets fail on them yet though.

I would be quite interested in seeing how my GB head sounds through one of those BFM cabs. Unfortunately the amp only has speakon output sockets.

[quote name='bassbloke' post='278395' date='Sep 6 2008, 06:30 AM']Also, the type of wood, neck joint, neck construction (laminate vs single piece), body construction (laminate vs single piece or two wings), bridge (brass, wood, top vs throigh body) will have far more of an effect on the sound that the few grams of wood removed for the control and maybe battery cavity.[/quote] Lets not also forget this is Carl Thompson, so for the sake of providing a bit of context on the contributions of wood to tone... [i]"Aaron: Suppose a customer is describing the sound they wanted to get from a bass. What key words would make you think a set neck would be best for that person or a bolt on? Carl: I have no idea. I wouldn't know what anyone was talking about. Anyone talks about how I can get them the sound I don't know what they are talking about. Somebody wants a bright sound. What's a bright sound? Explain to me exactly so I understand what you mean by a bright sound. Explain that to me. I'll make you a free bass if you can do it. Where I understand exactly what you mean. Without question I have no doubts in my mind exactly what you mean by a bright sound, or a funky sound or a warm sound, or any other kind of sound. Explain it to me exactly so I know exactly what you're talking about. And then I'm supposed to go find wood that's going to get you that exact sound. No matter what I do to the wood. Whether I bolt it in or glue it in. There's just so many things involved there to really get a good sound. I get a good sound all the time if that's what you mean. I can get a good sound out of anything. I never even thought about it. When I first started making the bass. I was not disappointed with the sound of any bass I ever played. I'm still not disappointed. I can play any bass and get a sound. I like playing the Danelectro basses. I think they are great. I get a good sound out of a Dano-I really do. I can get a good sound out of a Fender. I can get a good sound out of almost anything, you hear me. But I have a sound in my head that I hear and I just find it on any instrument, somehow. So why would anyone want to buy my instrument if I can get that sound? I can get it. Because I have an attitude in my head when I'm going to be looking for something. A certain piece of wood is going to get me something. I'll get it. I'll find a way to get it. I'll get it. I'll just get it and you should be able to get it too. "[/i] [url="http://www.ctbasses.com/CTinterview.html"]http://www.ctbasses.com/CTinterview.html[/url] l think a piezo system designed for acoustic instruments would be unusual but could fit the bill

I've found EMGs do have a very distinctive voice - thats a matter of taste obviously. I can't actually visualise what you mean by more wood. *cough* There are varying levels of transparency offered by different pickups which all have their own plusses and minuses. If you don't know what you want specifically in terms of tonal character then the only answer is probably to either take Carl's suggestion (EMG's are very practical in terms of how they handle noise and stuff) or go and try basses where pickups have been changed around between identical models. If you want neutrality then why not go for a piezo based system in the bridge with a buffer preamp (or a John East pre which has buffers built in)?

oh, thats a bugger.

Fascination by Alphabeat its full on and boisterously happy 1,2,3,4 by Feist its uplifting and gentle at the start and climbs towards a soft euphoria at the end Switch by Planet Funk this ones not necessarily a happy song but its got an uplifting and cheerful chorus Higher and Higher by Jackie Wilson, just because its got that gospel thing happening

As I mentioned on Page 1, I think theory brings you extra freedom. Whether that degree of freedom is relevant or needed is obviously subject to one's personal circumstances. I personally don't understand how the issue could be discussed meaningfully beyond that point apart from sharing experiences.

is it heavy?

does being the only one in a full suit and wearing a hat count?

[quote name='crez5150' post='277459' date='Sep 4 2008, 11:36 PM']I had a MK jaydee for a few years.... great bass.... very long..... Electronics were not great though.... I generally hate headed basses.... do love Jaydee's and Alembic's though[/quote] I replaced the circuit in mine with a 3 band Bart eq and it made a lot of difference to the headroom and clarity I was getting out of the bass. I asked about headless custom basses once on the Alembic forum, big mistake! Momma don' like dat.

and there I was thinking you were going to do The Constipation Blues.