Kiwi

For a while I had a Steinberger XL25 - the narrow spacing one and yes it was dense and heavy, even compared to full sized basses. Steinbergers are made from carbon fibre impregnated resin though, not layers like you'll find in most other graphite necked basses. I think the Pangborn might be a carbon wrap but I have nothing other than speculation to base it on. I always liked the Panger's ergonomics and meant to trace the body shape before I took it to the Gallery. But my UK visit this summer was absolutely mental in terms of logistical complications and I didn't get time to see anyone...not even relatives. Any how, it seemed to me that Ashley was trying to make a greatest hits of eighties basses with this one - the pickups are Armstrong and modelled on the GMT pickup Kent Armstrong made for Rob Green originally. The body shape is clearly Alembic influenced but downsized. The electronics seem inspired by Jaydee. The original finish was so thick Tim (who helps Jon and used to be in Dead or Alive) was ready to give up on it. Those horns in the omega shape were literally sanded out of finish, not wood!

It was mine. I'm a little confused about why I'm finding out that theyve sold it from you rather than them. But thats not your problem. 😶 I dont know much about it either apart from suspecting it may be one of a batch commissioned by the Bass Centre. The nut is precision width which I read somewhere was a specific request from the Bass Centre. The bass was refinished by Jon Shuker earlier this year after the armour plating cracked due to movement by the body wood. Jon thinks the wings are basswood, I think they might be alder. Either way they're quite light and soft. What reference did you uncover? I'm curious.

Did you buy it from the Bass Gallery recently?

I"m gonna a give a shout out to this guy. Killer reinterpretations of well known bass parts with a little more elaboration in a gospel style but not overplaying or losing the pocket. Gouche and Barnes should sit up and take notes because this is how it's done.

I tried one in the Bass Gallery and didn't like it either. It was too stiff, really glassy sounding and that top horn dig into my ribs. Still, it was more playable than a ricky.

I've only ever had one experience of using a bass that was so awkwardly dysfunctional that it killed all desire to pick one up again. It was a Ricky 4001, clearly designed for pick players rather than fingerstyle and so much hardware seemed to get in the way. Of course, they're a well known bass for a reason but most (not all) players I've seen using them are using a pick. Too much compromise for me.

I gig occasionally at work and the backline typically provided is minimal to almost non existent, even then the engineers use it primarily for vocals and acoustic guitar. I'm thinking about going fully wireless using a Kemper Stage Profiler (which can already split monitor and main outs). Has anyone got experience of using wireless IEM system AND wireless transmitter with just a pedalboard? Which systems worked best? If you were the lone user of IEMs, how did you patch into a band mix for monitoring if the sound engineers worked for the venue or organisers?

This is very similar to where I am. Although the musicians here are either into hardcore thrash metal or soapy acoustic ballads. There are no live covers bands for example and the city where I live is renowned as a night life destination. Whatever people are doing, it doesn't appear to involve music performance. Also even finding any musicians with performance experience can be a PITA too.

Hey it happens to the best of them. Jean Michel Byron's experience with Toto is well documented. The band edited the DVD footage so his role was relegated to backing singer with cameo.

Yeah, and then consider the impact its going to have on any industries that rely on technical expertise, mass consumption of creative output or organisational processes. Careers will be either about managing AI in various industries, managing the people managing AI or sectors that are relationship based eg. primary school teaching, sales, the legal profession. I think so much more about how our kids make money is going to be based on relationships...it might even turn income earning into a popularity contest. So long as you can find a big enough niche to exploit, you're golden.

It's going to totally disrupt both the creative industries, advertising and mass marketing in the short term. It'll probably be nothing less than the next industrial revolution in the longer term. Well, that's alright then! I don't believe you! 😄 Yeah, my colleague and I were discussing that a couple of weeks ago. It's astounding, especially the amount of detail in the wide panoramic shots. Also K pop now. And early eighties Stock Aitken and Waterman was far more formulaic but they were riding a wave of undiscerning enthusiasm at the time. I doubt the majority of the undiscerning public will care so long as it makes them feel good. That is certainly the case where I live. Chinese pop ballads are pretty much one of three sets of V II IV I chord progressions, the same 8 bar pattern of tension and resolution in the melody, the same key signature shift up a tone immediately ahead of a near orgasmic screaming eighties style guitar solo and then the song ends on a near whispered repeat of the last two lines of the verse etc. it's already highly manufactured and this is before any AI use.

Yeah, a colleague and I are exploring AI at work quite a bit because we want to see how much time it can save in making tailored lesson plans and teaching resources including songs and images. We've used AI generated images in reward cards which will get submitted for a gong next year. I've managed to create some extremely specific images as prompts in activities. The quailty of AI movies has improved quite a bit too so we'll be looking at those sometime. I'm looking forward to your much better alternative!

You could always play one...I think it's got bagpipes at the moment...?

https://app.suno.ai/song/94a8b4db-a105-4bb3-87c4-83ae1dfd2eb5 OK...the lyrics are a bit cheesy but the melodies are surprisingly catchy. I worry for the music industry though if this is still early days.

Its a scam.

How about referencing something iconic from the eighties? Designer things, red braces, Poison Arrow, stuff like that...?

I kind of agree, searching on the market place has been a little too reliant on improvised search terms. But I have no experience with coding or insight into what is possible. The market place would be exempt from any software updates as it's a standalone custom module.

Hi Ray, I'm sorry to hear about this dreadful news. I'll flick you a PM so we can discuss offline.

It would help with search engine rankings if we could at least tag brand names though.

Oh bugger, that's a real shame. I bought a Jazz bass off him back in 2013.

There is an arpeggiator in the Source Audio C4 and also a Cooper Moments Machine but they don't have ADSR per step so two notes at the same pitch just become one note twice the length. The Eventide Pitch Factor has an arpeggiator but the patterns are preset. There is a CV message based hack but it's far from convenient to implement. Adrenalinn III has an arpeggiator with ADSR per step but it's based on a pink noise generator not an audio source. I have the C4, the Moments Machine and Adrenalinn. The first two are for sale at the Gallery right now along with an old Akai SB1. I sold the Pitchfactor about 8 years ago. So basically there are a number of pedals who have taken a shot at the functionality and only sort of half implemented it.

The idea is to arpeggiate without need for MIDI or extra stuff.

I'm glad Andras is going from strength to strength in the FI story. FWIW is all I would like in ANY bass synth pedal is a 16 step arpeggiator with ADSR control and mute for each step. Source Audio thought it was a good idea but had already hit the limits of their hardware. Obviously Andras is taking things in a different direction too which is disappointing for me but no doubt the bulk of users out there don't need it. Which bass are you using for this clip, Peter? I found even with the Akai SB1 that single pickup basses tended to track best. I'm wondering if that might have changed.

£8000 for a Warwick Thumb NT now. I have a few bits of Mesa guitar kit at home, and the Bass 400+ is the best valve bass amp I have ever owned. They made some utterly fantastic kit in the nineties. But check out the manouverings of Ernie Ball, Warwick and a few other brands this year. They have spent the last ten years cultivating a fan base in the US and leveraged on that to support sales internationally. Helped to no small degree by lump sum pension pots being made available within their customer fan base. This isn't really about demand and supply as it is about goose, gullibility and raiding golden (nest) eggs. I owned three Smith basses in the mid to late noughties. I owned three Celinders. I owned four Musicman Cutlass basses and I still have an Alembic. I have given up any hope of being able to owning a halo model from a boutique builder now. In some ways I'm OK with that because I don't really have GAS any more and my tastes have become very specific. But in China there are some very nice imported brands available second hand for about 20% less than they might get in the US or Europe. Ernie Ball, looking at you in particular with £800 for a nineties SR5. Or PRS with £1200-1500 for a core Custom 24. Dingwall seem to be one of the few manufacturers who have retained any degree of self control on prices.