BigRedX

But for pitch to CV or MIDI you don't want to extract all the harmonic frequencies in the signal. You need to identify the fundamental as quickly as possible and in this case zero crossings are actually useful.

You don't need one on programmable effects. You simply change the output level on the last effect in the chain and save it as a new patch or snapshot.

Unfortunately the only way the OP will find out will be if they do it to their bass. All basses and all players are different. Just because it works for one (or more) player(s) on their bass(es) doesn't mean it will work for the OP on their particular bass.

50 years ago due to the grain pattern, that piece of wood would never have been considered for making into a guitar or bass neck.

It's a lot more complicated then that because the waveform of a plucked string is unlikely to be symmetrical about the zero point. There are plenty of standard waveforms that display asymmetry - consider the pulse wave on a synth which is a square wave where the mid zero crossing is not equidistant between the two either side. For that you would definitely need 3 zero crossings to get a stable pitch and more if the pulse width changed over time. Real-life waveforms are even more complex than electronically generated ones, and that's before you take into account other variables like the fact that simply plucking the string will cause the first few cycles to be sharp. Of course you can get around some of this by using pitch quantisation, but then you also lose a lot of the expressiveness that comes from a playing a guitar or bass.

IME the best hardware fix for recording latency when using a DAW is to use a small multi-bus mixer. You only need 2 more channels on it then the number of sources you intend to record in a single pass. Run each source you are recording through it's own channel and output on a separate bus going to your interface, at the same time also routing them to the main stereo bus on the mixer. Then have two channels (not routed to any bus other than main stereo mixer outputs) taking the main stereo output from your DAW. Then turn off software monitoring, so that only the channels being played back by the DAW are going to the stereo output (and not any that you are recording). You monitor from the mixer. You here a stereo mix of the tracks already recorded on the DAW plus the instruments you are recording just through the mixer. As the new sources you are recording don't have to do the round trip from interface to DAW and back to the interface there is no latency at all.

That looks interesting but the scale length and pickup placement say more "Bass VI" than Baritone to me. What tuning have you been using on this? I might be interested. Can you let me know the following measurements: 1. Width of the neck at the nut 2. Distance between the highest and lowest strings at the nut 3. Distance between the highest and lowest strings at the bridge Thanks!

One of the bands I play with recently did a couple of "acoustic" gigs. We were going to play sitting down until both the singer/guitarist and myself realised that it was going to require a lot more practicing to cope with different instrument position (on top of the fact that we all had to learn playing different parts to what we do when we play the songs in a normal band setting).

But for most people who don't know the city, NYC = Manhattan. From a UK perspective it's a bit like saying you make your instruments in London when the reality is that you're not based in the West End but on an industrial estate in Croydon. Still the business model is obviously working for them, so none of us here can really knock it.

I've never needed to adjust my bass sound to cope with poor venue acoustics in over 40 years of gigging. The one place I have played where the acoustics were noticeably terrible plus the bass wasn't in the PA, simply closing the curtains over the large expanse of windows/glass doors down one wall made way more improvement to the overall FoH band sound than any amount of EQ fiddling could have done.

There is no "magic bullet". A good bass tone is one that works with the other instruments in the band/mix and that will depend entirely on what those other instruments are, what tone they have, and what role the bass is supposed to play in that particular set up. All of those variable can only bee known when you are actually playing with the other instruments. Have a listen to any of the isolated bass tracks from recordings or gigs that are available on YouTube. Most of the time the bass sound on its own is not that impressive and often has a lot more "drive" then you would expect. However once in its proper place in the mix it sounds perfect.

They play up the NY bit as though they were in Manhattan. But they're not. They're in Brooklyn, and not even in the trendy (expensive) part.

Yes. I play at home to practice or writing songs for playing with the band. Therefore I use the same bass that I'm going to be using with the band. I also play at home standing up as that's how I play when I'm playing with the band.

IME a requirement for volume or being able to "feel" the music generally means that either the songwriting or the arrangements aren't good enough...

IMO there's always a good reason why demos and out-takes weren't released at the time, and in most cases it's best that they stay that way. Radio sessions I can make an exception for, but only if they are well-recorded and offer a different perspective on the song to the "official" version. Live versions generally don't fare that well without the accompanying visuals unless they have been subject to the "Thin Lizzy" treatment, however I do have quite a bit of time for good concert footage and in those case I'll forgive less than brilliant sound. Just don't ask me to enjoy the audio with the accompanying video.

I suspect that Steve's Chick's (the man behind Industrial Radio) previous experiences with licensing the technology to Peavey and Wal is the reason why you can only get the technology by buying an Industrial Radio Guitar or Bass.

It's actually worse than that. The very best pitch detection systems require a minimum of one and a half waveform cycles to begin to identify the note. Most take much longer. IMO pitch detection is a dead-end for live performance (it might have a limited use for programming where the latency can be compensated for once the note data has been captured). Signal processing is the way forward because it allows all aspects of stringed instrument playing technique to be utilised.

Everyone's lifestyle choices are different. I have made plenty that I am sure most on here would find unpalatable simply so I could continue prioritise making music. At one point in the 80s someone asked me if the place where I was living was a squat. It wasn't, but I was able to put up with the general shabbiness of the place because, due to its location I could also use part of it as a recording and rehearsal space for my band (with drums) without worrying about noise complaints. I've also worked at places where the only way I could guarantee that I would be available for gigs was to book the whole day off as a holiday weeks in advance. On occasion my band's gig schedule would use up the vast majority of my yearly holiday allowance. These days I am self-employed and I treat my band(s) just like a another client (although ones that pay rather poorly), when it comes to time management. Occasionally I'll have to cancel a practice if I have an important last-minute job with a tight deadline, but gigs always come first, and I organise my work schedule around them.

I would have chalked it up to experience and forgotten about it, but then another Basschatter had exactly the same problem with the same model of Ashdown amp he had bought second hand and came on here raving about the great customer service he had received which IIRC essentially involved Ashdown fixing it for free. In my case when I had owned the amp from new, I got fobbed off, then quoted signifiant amounts of money to just look at the problem, and finally ignored. When I raised the problem with the Ashdown rep on here I got a nasty sarcastic response that didn't make me feel any better inclined towards the company.

Everyone wants different things from their bass amp. For me the amp is simply a way of getting from instrument or line level to speaker level, and the less it affects the sound the better. I've gone the modeller/FRFR (class D) route, and for all but the smallest venues I don't even bother with the FRFR cab as I know the foldback will be more than up to the job. To the OP. I assume that you rig is 100% responsible for what the audience hears.

It's worse than that. They've been bought by Music Tribe (Behringer).

Except when they don't. Myself and a couple of other people on here have been treated pretty badly by Ashdown's customer support. I'll never buy anything from them ever again.

What inside yours? Mine was completely stuffed full of cushion foam, and I never had any feedback problems with it, although I never used it at anything other than home practice volume.

For anyone who hasn't seen one before, this is what a real Tokai Talbo Bass looks like: Nothing like the one on eBay... (Looks like a Warwick knock-off) However there was a wooden bodied version of the Talbo Guitar called the Talbo Woody.

For most standard bass strings, high C is significantly higher tension than low B. As a rule of thumb, the D string is usually the highest tension with the tension decreasing as the strings get higher or lower; however the decrease in tension between each string going down in pitch is greater than that for the high strings (high C will probably be closest in tension to the A string). Depending upon the stiffness of the neck, you might not notice anything, but be prepared to tighten the truss rod very slightly.