Kiwi

I don't have a best bass purchase because I can't afford the basses on my GAS list. But I did purchase a guitar amp - a collector's grade Fender Princeton II to replace the player's grade Concert II. Worst bass purchase was a custom instrument that in all seriousness a total joke and built by someone who had no understanding about musical instruments. A complete and utter waste of money that makes some of the junk on Youtube seem masterbuilt in comparison. I still feel guilt about the trees that were used in it's construction. If I strip all the finish off, remove the body wings and run the neck up against a belt sander for a bit, relaminate a new top on the lower wing and reglue it all, I MIGHT...might end up with something vaguely playable. But the company did send me a hand wired 5F2 Princeton Tweed amp as compensation and it's quite good. But I didn't really need another guitar amp. I have four already. Lessons learned: Do it myself. Get the parts made and shipped unfinished, check dimensions and tolerances then sand as appropriate. Assemble myself and finish.

I haven't tried many Class D amps, just the old Peavey Databass combo and Peavey DPU1400 rack power amp. But I bought one of the first GB Shuttle 6 heads to come into the UK and gigged with it solidly for two years before adding a second and leaving the UK. Given I don't have access to an amp tech, the thing I likemost after the sound is the fact that the power amp module is by B&O and available on EBay for about 100 quid if I need a replacement... which I did for the second amp.

You could probably get a custom auto shop to do it so long as they knew how to flat it with wet and dry between coats and what the cure times were. Or a furniture company. Sei Basses used to get Bow Finishing to do theirs before going to Sims. Bow's core trade is refinishing roulette tables.

I've been obsessing over the second Go West line up for the last four days. Jaz Lochries Status Series II sounds great and Alan Murphy is killing it on that Aria Pro II Esprit. One day I'm going to add an Esprit to my limited arsenal. But it won't be happening any time soon.

I've used Animotica for youtube vlogging. It's OK but the user interface is not as refined as it could be for some tasks, there's quite a bit of switching between screens for adding extra features. And synching hits in the music with video events is usually a PITA. But if you're interested...

I had written off Gibson basses generally until I saw this Pompamoose vid with the lovely Hagar handling the low end and I just thought...'wow, what a solid tone'. Sits really nicely in the mix. You learn something every day. Lovely arrangement too.

I owned one of Cliff William's basses for a while. The case had a Florida address on it. Great year BTW, birdseye maple cost the same as normal maple back then so EB just chucked it into the mix.

I've been scrutinising the user manual and it's not looking very positive for my specific purposes. The most frustrating thing is that there are hold functions available both as effect parameters and as part of the oscillator block so the functionality is there. But it doesn't seem possible to arrange the signal chain in a way that allows the hold functions to feed into the sequencer. So I wouldn't be replacing all of my current signal chain, just the C4 and whatever modulation pedal happens to be on there (at the moment an Adrenalinn 3). Given these things are US$1000 each (and probably close to that in GBP once VAT and import duty are included), it's a pricey alternative to the C4. Especially considering I probably wouldn't be using 50% of the features on a regular basis.

I have a 13 pin socket installed in my Shuker 6, connected to a graphtec piezo in each bridge so I'm hoping that might behave itself with this set up. Can't see if it allows hold of one sequencer yet while playing through the other.

Initially I thought it only offered one waveform but I may have been confusing it with another Boss synth pedal. I can see in the specs that it offers sine,tri, three saws and PWM which is good. And the 16 step sequencer offers filtering per step which is great. Very interesting...

I'd suggest anyone stumping up for this pedal has already made a commitment to using it above and beyond 6 patches. My set up is also smaller than many non-synth boards. - no overdrive and only two modulation pedals (ne for each side chain). Anyway, it's all moot. Roger Smith has stated there's no space left on the C4 now for any of the improvements I'm seeking. So I'm probably going to sell mine as soon as possible as it doesn't do the job I bought it for.

It's not a pedal then, it's a sound module.

A synth pedal with apeggiator/sequencer with silent steps, MIDI port and envelope filter per step.

I wasn't aware that the MC6 couldn't be connected directly to the C4 via USB without an additional purchase. So that means the lack of a basic MIDI port iin this pedal s now worth £180 (MC6) + £50-100 (hub) which is borderline insane. And the pedal doesn't offer all the features of a basic sequencer...(hopefully...yet).

You can use the same membership over at Guitarchat, listings are free for the forseeable future.

I bought the original a couple of years after it was released!

Sounds like he's using a coin for a pick, too. Surprising to see entire families there too!

Haha, that's a bit like my wife saying she saving a load of money when buying another 3 extra handbags because they were 15% off.

Just found this on youtube, then discovered this post. I'm interested simply for the low pass filter sweep more than anything else. Was offered one new for 145 quid...

It's possible to note bend. Reducing false triggers by selective muting is still needed although it'll be interesting to see how far the tech has come since I met with Steve. Sorely tempted to get one in 5 string format as well but finances prevent it at the moment.

If it's used, is it the version originally handmade by Charles Celia for Steve? Or is it the later model made from Warmoth parts?

Me too, which is why I don't own one.

Wilkes produced half and half basses back in the late seventies. Fretless was above the 9th fret I think.

Steinberger made a prototype bass with the same system - possibly under license. The bass was for sale on Ebay over a decade ago. It worked off the idea that the frets would rotate in place and the fretless mode the frets were flat. It's a fantastic idea apart from one slight hitch, the action in fretless mode is quite high. Fretless mode could include a zero fret I guess but lowering the bridge saddles would be a bit trickier.