BigRedX

[quote name='Light Grenade' timestamp='1491569892' post='3274037'] You don't need to use apple products. I've been using a Lenovo PC and a Dell laptop 5 years with no problems at all - I just can't merit spending £1000 on a Macbook for average power. Either of these laptops will work just fine, and will only struggle with crazy sessions, and I'm talking 70 tracks with about 8 plugins on every track. [url="http://www.dell.com/uk/p/inspiron-15-7567-laptop/pd"]http://www.dell.com/...-7567-laptop/pd[/url] [/quote] I don't think I've ever spent £1000+ on any Mac (including my desktop models) apart from my very first Quadra 650 in the mid 90s from the days when Macs were very much niche products and priced accordingly. I've owned 3 lap tops starting with a PowerBook G4 in 2001 and I'm currently using a 2012 spec MacBook Pro which cost £700 from John Lewis when it was EoL'd last year. By my reckoning it should last me until 2023... If you look around there are plenty of EoL, reconditioned, B-stock and second-hand Mac bargains to be had. My desktop Mac is a second-hand 2008 3GHz 8-Core MacPro which came complete with 32GB of RAM at a total cost of £350 including delivery. [quote name='SH73' timestamp='1491687157' post='3274848'] I use Ableton live and no way I'm getting Mac. It's overrated..... [/quote] Fair enough. Your loss IMO. Do you absolutely need the portability of a Laptop? IME for the same price as you would pay for a laptop you can get a desktop machine and a 24" monitor with far more performance and power. You also get a lot more options for audio interfaces if you are not just relying on the USB ports a laptop has. Having said all that unless you are intending to go out a buy a couple of huge orchestral libraries and run 50+ tracks of that with multiple instance of convolution reverb plug-ins, anything with an i5 processor, SSD drive, and at least 16GB of RAM should do.

Any decent multi-effects unit will have a tap-tempo function which is by far the easiest way to ensure your delays are in time with the tempo of the song; and something that is notable by its absence on a lot of stand-alone delay pedals.

[quote name='fretmeister' timestamp='1492002094' post='3277063'] It's a easier than you think. Whatever you want to be the variable, just change that. Swap bodies but move over all the hardware and strings and measure pickup heights etc to be identical. If comparing necks - then even move the tuners and string retainers over and bolt to the same body for the test. [/quote] [quote name='mcnach' timestamp='1492002631' post='3277073'] well, even then... because all bodies made of the same material are actually not identical, you're going to need to measure quite a few to get a sense for their natural variation, and THEN you can assess whether the distribution of both body materials are distinct enough or not. It seems like a lot of work when we already know the answer. Who needs facts? [/quote] Also you'll have to check that just the action of dis-assembling and then re-assembling the instruments isn't changing the sound either.

[quote name='PaulWarning' timestamp='1491907867' post='3276311'] the best story I've got is where we played a small, very small, festival and the supplied kit didn't have a floor tom, one poor drummer couldn't get his head round it so played an upturned plastic dust bin instead, oh how we laughed [/quote] I used to play in a band whose drummer only used one rack tom and no floor tom. He was always quite happy for the drummers from other bands on the bill to use his kit and we always made sure that we told all the other bands we were playing with, that if they wanted more than a single rack tom they need to bring their own. And every time the drummers from the other bands would turn up and look at our supplied kit with dismay...

[quote name='Dropzone' timestamp='1491830355' post='3275686'] I did wonder about the truss rod, but thought the tension wouldn't be too much more. Ta [/quote] The tension will be a lot less. Low B strings have a significantly lower tension than the high G as any string tension chart will show you.

IMO it very much depends on how you view the recording (is it a fully-formed finished product, or just a "demo") and what formats you are intending to make it available on. However there is also the issue that, unless I've misunderstood your post, you've only recorded one song. In which case there is probably little point in putting it out on CD or another physical format as people want at least a couple of songs before they are prepared to part with their money. That pretty much leaves with with downloads only. IME audiences will only download from sources that they feel comfortable and confident with. That means for a lot of people if your song isn't on iTunes, Amazon, Spotify or one of the other major streaming or download services it doesn't matter if you are giving it away for free somewhere else they won't download it. Therefore what I would do is to find an aggregator service that suits you to get it on iTunes, Amazon, Spotify etc. where it will be available at the usual price, but also sign up for Bandcamp where you can give it away for free. Actually the best method to use on Bandcamp is to ask for a donation (which can be nothing) and then people will pay what they think it is worth. You'll be surprised by how many people still pay even though they don't have to. Finally as Len_derby says, depending on your audience demographic, you'll be surprised by how many people will actually want to buy a CD or vinyl off you after a gig. And a CD sold at a gig is a guaranteed sale with money in you pocket. A free download card is most likely to be lost before the person you've given it to gets around to downloading the track. Case in point. I saw two bands on Saturday. The Society (ex-Danse Society) and Hands of Industry. The Society had CDs to sell and I bought 2. Hands of Industry had nothing, but they do have a single for sale on the main download sites. If I remember to do it this week, I'll probably download it if I can work out which site is selling a non-data-compressed version, but had they had CDs at the gig I'd have bought one there and then.

[quote name='Beer of the Bass' timestamp='1491824014' post='3275586'] Did they not share UK distribution with Tokai for a while, or something like that? If shops were ordering them from a distributor with "Tokai" in the name, I can see how the name might become associated with them even if it tells us nothing about the manufacturer. [/quote] The UK distributer for Tokai uses the tokai-guitars.co.uk web address for their site although the actual company is called RKM Supplies Ltd. It does seem to be the same people running it since Tokai guitars started appearing in the UK again in the early 2000s. They may or may not have also been importing the Rockinbetter basses alongside their core business of Tokai, but plenty of distributors in the UK handle multiple lines from different manufacturers, and so that doesn't mean anything. In my dealings with the UK distributor I found myself wading through a lot of BS, and was so disillusioned with them, that when I came to buy my Talbos I got them direct from Japan rather than through the official UK channels. All this dis-information stems from the fact that Tokai guitars are no longer made exclusively in Japan, and while models like the Talbo and the top of the range Love-Rocks are still MiJ, there are a lot of instruments bearing the Tokai name on the headstock that are made elsewhere, and it certainly shows in terms of lesser build and QC, and IMO doesn't do the Tokai name any favours. The general consensus regarding Rockinbetter and Tokai, is that if Tokai was going to make a 4001/4003 bass it would have Tokai on the TRC. They've made RIC-style guitars in the past all of which had the Tokai logo on them, but I've never seen a Tokai-branded 4001-style bass. With the wonders of the internet, I'm sure if one existed, there would have been a photograph of it doing the rounds by now. The fact that no photographic evidence has come to light is good enough for me to say that Tokai have not, and do not make a 4001 or 4003 style bass.

[quote name='Billy Apple' timestamp='1491767605' post='3275261'] Who is it then? [/quote] As far as anyone knows, Rockinbetter is the brand name dreamt up by either an importer or a Chinese guitar factory. This might be same Chinese guitar factory that also makes, under licence, instruments at the cheaper end of the Tokai range (as well as instruments with lots of other brand names on the headstock); but that is it, as far as the Tokai association goes. Given RIC's litigious nature it's understandable that the company(s) and individuals involved want to remain anonymous, and this all helps with the "mystique" surrounding the brand. However there is little evidence to suggest that the link between Tokai and Rockinbetter is anything other than tenuous at best and most likely non-existent. It's notable that all the people trying to convince us that Tokai and Rockinbetter are one and the same are those who want to sell us a Rockinbetter.

Nord Lead - any version

Rasputina: Possum Of The Grotto. http://www.youtube.com/watch?v=0VfUe0aIRqA

[quote name='mikel' timestamp='1491557701' post='3273908'] Of course. If the album was an original Mono recording then that's what its supposed to sound like. I am not a purist, but the original recordings sounded just fine to me. [/quote] Both the mono and stereo mixes were done for the original album release, and you could buy the album in Mono or Stereo versions, but the mono mix is the one that George Martin and the band spent the most time on, as this was the way that most people would hear the tracks - on AM mono radio and Dansette-type record players. The stereo mix is a proper stereo mix and not re-processed from a mono mix, like some from that era, but given that it was done in a fraction of the time, plus the fact that the album was recorded by bouncing between two 4-track machines, the scope for stereo was somewhat limited.

Nothing in "Off-Topic" counts towards your displayed post count, nor does "eBay - Weird and Wonderful". There may be more, IIRC any forum section you can't see when not logged-in doesn't count towards the post count displayed under your Avatar.

Except it's a guitar not a bass. There were 3 basses made in the original run of 60 instruments. However it looks as though [url=http://gittlerinstruments.com/gittler-electric-bass]Gittler are making basses again[/url] with both fretted and fretless models: [IMG]http://i114.photobucket.com/albums/n249/BigRedX/Five-String-Fretted-Horizontal-1_zpsaezyvtl8.jpg[/IMG] [IMG]http://i114.photobucket.com/albums/n249/BigRedX/four-string-bass-frettless-blkbkg-1024x581_zpsopbje1o9.jpg[/IMG]

[quote name='ead' timestamp='1491477920' post='3273329'] I tried my kids on punk but no joy and completely failed to be excited by New Rose and what followed. They do however like RATM and Limp Biskit so not entirely a wasted experience. [/quote] Probably because most punk records from that era sound pretty tame compared with what's available today in various genres of metal and rap.

[quote name='mikel' timestamp='1491486512' post='3273423'] I didnt say there was anything wrong with a re release, that's what I wanted to replace worn out vinyl. Its re mastering I don't like, it is messing with the original simply cos you can. That's why I dont buy re mastered, so I do walk away. [/quote] There's nothing wrong with re-mastering provided that it is being done because there is a new delivery medium to cater for, and it was done from the original mono or stereo mix and not from an existing production master. Each different format (vinyl, compact cassette, 1/4 tape, CD and data compressed download) should have it's own specially created production master that takes into account the strengths and weaknesses of the delivery medium, and not a one size doesn't really fit any attitude towards mastering. There are lots of restrictions on what can be cut to vinyl that simply don't affect digital files, so they shouldn't have to make to with a less than optimum master. BTW as a purist I hope you bought the mono version of the vinyl, as this is the one that they spent the time mixing. The stereo version was dashed off in an afternoon at the end of the week when the mono mixes had been finished.

[quote name='Steve Browning' timestamp='1491467428' post='3273200'] About '89 to '95 roughly. There's a story to this. I used the slab on Play With Fire while in the band but, they got the 70's lineup together after recording was finished and dumped those of us making up the numbers. Wally redid all my bass parts and so my version is not on the album. If you have seen the video for Eve Of Destruction, that's me sporting an Epiphone Rivoli poncing around on Dungeness beach! [/quote] Thanks for that. I've not seen the video and it doesn't appear to be on YouTube. I do however have the single on 12" vinyl. Are you on the cover?

[quote name='PaulWarning' timestamp='1491466477' post='3273186'] we're using media hut, thanks for the heads up on damage, should be well delivered they're charging us £50 for it! [/quote] Media Hut were one of the companies we used who had poor transit packaging. Luckily for us, because we went for something a bit more fancy instead of standard sleeves which we did ourselves, only the inner paper sleeves were damaged and required replacing. Had we gone for standard printed sleeves, the whole job would have had to be reprinted, as not a single box escaped some degree of damage.

[quote name='Steve Browning' timestamp='1491462916' post='3273148'] I didn't gig it because I found the body would cut into my forearm after a while but I did record a song with it during my time with the Pretty Things. [/quote] When were you with The Pretty Things? and what song did you record with the Slab? I'm a massive Pretties fan (my first band was even named after one of their songs).

[quote name='PaulWarning' timestamp='1491398721' post='3272712'] The band I play in are on the verge of releasing a new album and the people that are organising the production of the CD's and Vinyl are asking for full payment before they start (vinyl can take 8 weeks) is this normal business practice? [/quote] Yes it is. I've done a lot of CDs and Vinyl (and cassettes) over the past 10 years and every single supplier I have used has demanded payment up front. Who are you using for your vinyl production? One thing to watch out for is, vinyl packaging for transit is very poor, and the last two deliveries I have had contained damaged items as a result. Make sure that someone from the band is available to receive the records when they are delivered and has the ability to photograph them if necessary. We complained both times about the poor packaging and got replacement paper sleeves and some money refunded to cover the costs of repacking the vinyl with damaged sleeves.

That's because back in the day all the BBC programmes were made by the BBC and used their own in-house trained engineers. These days nearly everything is made by independent production companies. The BBC no longer does training for the technical jobs and those who did receive BBC training are now in the minority. There is still the excellent Tonmeister course at the University of Surrey, but places are limited and programmes are made to a budget, which means the production companies can't always afford the best technical people. Also decisions on sound are being made by programme producers and others with no real understanding of what is required to deliver the best possible sound to the majority of viewers. Hence the recent spate of complaints about programmes where the dialogue is almost inaudible over the foley sounds and BGM. I'm sure it sounded great in the editing suite, but that's not how the majority of viewers watch the finish programme. Also in the past very few people used anything other than the TV's in-build (tiny) speaker so programmes had to be mixed to take this into account. Nowadays the assumption seems to be that viewers have fancy surround-sound systems to go with that huge flat-screen TV, when IME that is most definitely not the case and the small speakers on modern screens don't even have the benefit of a large "enclosure" to help them deliver a decent sound.

[quote name='dyerseve' timestamp='1491222130' post='3271293'] What's not ideal about it Kevin? I use a similar stand for my basses and it is perfect and nicely portable. I cant see how the width of the bass could be a problem for these types of stands... [/quote] I've got a Hercules Mini stand. The only use it ever gets is to hold a symmetrical bodied guitar when it is in my lounge. It's simply too small and insubstantial for any other use.

The bass might be 5 years old already rather than new, but it's also 5 years closer to being a desirable vintage instrument...

Buy a keyboard synth

[quote name='Deedee' timestamp='1490705813' post='3267201'] I think users of 'serious' older amps would strongly disagree [/quote] They also had Bulgin connectors for the mains lead, but no-one in their right minds would want that nowadays.

If you are not using an amp with valves in it then you should invest in a pedal with some in, or one that emulates valve style distortion. If you have ever heard the isolated bass tracks from 70s rock recordings you will surprised by just how much dirt is in the sound, that isn't anywhere near as obvious when you listen to the whole mix. Once I'd figured this out my bass bedded much better into the whole band sound, than when I had been going for a predominantly clean sound.