BigRedX

[quote name='stingrayPete1977' timestamp='1501000220' post='3341677'] The sign of a good song is one that can be alerted a lot and still be enjoyable. [/quote] You don't even need to play the same bass line as on the original.

[quote name='chris_b' timestamp='1500995498' post='3341595'] Develop your sound. Make it a good one then use it on everything. No really, everything. Make those songs yours. James Jamerson, Duck Dunn and Nathan East have played on a thousand hit records (I'm grabbing that number out of the air but it's closer than a few hundred) and probably several thousand that weren't hits, over the last 60 years and between them they have used 3 tones. That's one each for all those different songs they played for so many different singers on so many records and over so many the decades. If someone wants to play 20 songs on a cover band gig and use 20 different sounds, that's OK. Totally unnecessary, but OK. IMO you'll be a better bass player if you sound like you. That's what the pro's do. [/quote] Would you give the same advice to the guitarist?

What are your guitarists doing with regards to matching the guitar sounds on the songs you are playing?

Looks great! Have you sorted out a suitable case for it yet?

Actually they are acoustic treatment tiles. The amount of sound proofing they will provide (especially at low frequencies) will be minimal.

[quote name='Freddy Le Cragg' timestamp='1500547778' post='3338593'] Ed Tudor Pole was in a season 2 episode as well. [/quote] He's a proper actor though.

[quote name='Bigwan' timestamp='1500030879' post='3335224'] Own amusement primarily as I'm sans band at the minute. Having said that I've never been one to be satisfied with "demo quality", whatever that even is nowadays... Eventually I'd like to be releasing my own material, so that's always in the background. I know I don't have the best interface, so I've been eyeing the Audient ID4 too... [/quote] If it's for you own amusement then I'd look at getting a better keyboard than your current Akai and its mini keys. Alternatively get a bigger or second monitor (your Mac will support 2), especially if you are considering moving to Logic, where you almost never have too much screen real-estate - I currently run 3 x 23" monitors and even then I could sometimes do with more space! For doing anything more, here is a cautionary tale... I've always been a home recordist. My first band in the late 70s was a recording project only. A band that had to borrow its bass guitar and had only one (10 Watt) amp and no drum kit, there was no way that we could gig, but we could fake the lack of conventional instruments on tape, so we stuck to experimenting with recording at home and got pretty good at it. Come the 80s and I joined a synth band and we had 4 track cassette recorder fed from an HH 12:2 mixing desk and a handful of guitar effects pedals. We made some fairly decent recordings with this set up, but I couldn't help but think that the need for over-dubbing to get all the instruments and vocals recorded with only 4 tracks was holding us back in terms of sound quality and production. Something that was seemingly confirmed when we booked a proper studio with racks of outboard gear to make our last recording. Then in 1990 two things happened. I inherited enough money for me to go out a buy pretty much all the gear I needed for a decent home studio set up. An 8-track cassette based recorder, 12:8:2 mixing desk, a decent sampler and synth and some outboard. At the same time I bought a house that had a suitable room for a dedicated home studio. After that I pretty much spent all my disposable income for the next decade on the studio. Over the decade I must have spent at least £30k on the room and equipment to go in it. By the end I had moved over to a Mac-based recording system with a MotU interface, 40 channel digital desk, huge Tannoy monitors, racks of onboard gear and synths. The quality of my recordings definitely improved, but no matter what I did and how much money I spent on new gear, they never really came close to sounding as good as those by my favourite bands. Also everything took much longer when time was no longer a constraint. Over the decade with various line-ups of my band I produced 3 demos, a 3-track self released CD EP, and was half way through recording a full-length album when the band split. Not a brilliant work-rate when you consider than my first band completed 5 albums worth of material in under 4 years. When I joined The Terrortones, recording at home was out of the question, because I had neither the Mics or the sound proofing to record acoustic drums, so we used a series of local studios to record our initial demos and then our debut single. One thing that struck me straight away was how quickly the engineer in each studio was able to get a great sounding track together, sometimes with significantly less equipment than I had at home. It was at that point I realised that the limiting factor in my studio wasn't the gear, but was me. I had reached the point where no matter how much more time I spent working on a track or what hot new piece of kit I went ought and bought, my recordings were never going to sound very much better. In retrospect, the band I was in during the 90s would have been much better served if I had saved up the money and spent it on a month in a good studio with a reasonably well-known producer overseeing it all (easily achievable within a £30k budget). At the end of it, if nothing else, we would have had a great sounding album with a name producer attached to it, instead of a handful of good sounding "demos" and the rest of the tracks in various states on unfinishedness. To the OP I'm not saying that you won't end up being a great recording engineer/producer, but the chances are you'll never be capable of achieving the results you hear on your favourite recordings. With what you currently have in your home studio you have the potential to produce results that are technically far in excess of what was possible when some of the greatest recordings in the history of rock music were made. It is my experience that a good engineer is far more important than the gear. Over the last 5 years I've sold nearly all my studio gear. I've down-sized to a Mac Pro a basic Focusrite interface and a hifi amp and speakers. I'm getting back into synth-based music so at some point I'll be buying a decent keyboard. I think I'm pretty good at writing and arranging music, but if I end up making music at home that I think is worth releasing to the public I'll be taking it to a proper studio for mixing. I hope that helps and is not too discouraging.

Justin's simply not trying hard enough with his custom Warwick. Where's the ridiculous shape? The graphics that look as though they were done by a 5 year old? Amateur...

The video looks completely fake to me. As though he's just miming along to something that has been played on a different bass.

The 5-string I tried in The Bass Cellar in Denmark street was truly horrible...

Only one tone? How boring!

[quote name='Prime_BASS' timestamp='1500125718' post='3335781'] As curiosity, what is YouTube doing that others aren't? [/quote] Being subsidised by Google who can afford for it not to make a profit.

[quote name='lowdown' timestamp='1500066889' post='3335492'] There was a reached agreement with PRS, but I am not sure if it was successful, or indeed honoured in any way. I suppose it will all come out in the wash. [url="https://www.prsformusic.com/press/2015/prs-for-music-and-soundcloud-reach-a-multi-territory-licensing-agreement-ending-legal-proceedings"]https://www.prsformu...gal-proceedings[/url] [/quote] Which is what I implied in my original post. Soundcloud only just worked financially when they didn't have to pay royalties for their content. Now that they do the books no longer balance.

That's what happens when your business plan relies on not having to pay performance royalties to your content creators.

What is the ultimate purpose of your recordings? Are they simply for your own amusement? Demos to show your band how the songs should work? Or would you like to be releasing them on CD/Vinyl/Download?

[quote name='dannybuoy' timestamp='1500022670' post='3335148'] 3rd jack socket is for the expression pedal, power is on the side. [/quote] It's rather confusing that it says 9V DC just above the "expression pedal" socket then, isn't it?

How on earth can you tell which control is which on your average stage? Also it appears to use a standard 1/4" jack socket for the power. Surely that can't be a good idea?

Time for a respray! ;-)

In the past on here there have been a lot of posts from musicians who agonise over every tiny mistake that they or their band mates make at gigs. What I (and a lot of others are saying) is that while it ought to be one of our goals to strive to reach the point where we don't make mistakes, it is far more important that you learn to play through them, don't pull a face if you make one yourself and not to pointedly look at your band mate who has. A mistake at a gig is gone in a second and since none of us can travel back in time to correct it, don't worry and concentrate on putting on a good show. For me there will always be at least one song in the set that is close to the limit of my technical ability. Sometimes I'll make it all the way through without error and sometimes I won't. My aim is to make sure that every time I play that song at a gig I am less likely to get it wrong. At some point I'll be able to play it perfectly almost every time, by which time there will probably be another harder song in the set. I have the same attitude to the others in my band making mistakes. Play through it, don't telegraph it to the audience and work on your playing so at the next gig you are less likely to make the same mistake.

I was going to suggest looking at the battery too as the source of the corrupted presets. Generally the instrument needs to be plugged in and powered up periodically in order to preserve the battery. If it has been sitting unused since 1986 I doubt whether the battery will have survived. Also IIRC the DX7 should come with 2 ROM cartridges each holding 64 sounds in 2 banks of 32.

[quote name='Musicman20' timestamp='1499937698' post='3334600'] I was interested as a guitarist and not so much as a bassist with this set. I don't tend to pay any attention to eBay as it shows how over inflated these things become, and doesn't tell the complete story. Yes, I understand a mint original with packaging will be expensive and a collectors piece. Will this new set be the same? Or will it lower the value of the old versions a little? Who knows. £750 is a lot of money. I was very interested but I just don't think I can justify that for three basic pedals. [/quote] I won't be either, especially when I can get a Line 6 Helix LT for only a couple of pounds more. I was just pointing out that when you compared the price of this set with what people were actually getting for the original pedals, there wasn't a lot of difference. And I suspect there a are quite a lot of people on here who have 3 boutique devices worth a combined £750 on their pedal boards. I don't think either of us are the target market for this kind of thing.

[quote name='hiram.k.hackenbacker' timestamp='1499924176' post='3334491'] I'm not sure I understand the view that the only people that will notice are probably musicians anyway, so it doesn't matter. Surely they are the people we aim to impress, aren't they? [/quote] IMO other musicians are almost the last people I want to impress. They are a tiny part of the average audience an entertaining band should be able to pull in. I want to impress "ordinary people" who might want to buy a CD/Record/T-shirt at the end of the evening if the band was sufficiently entertaining. Also IME punters and most musicians will only notice mistakes if the band make a big deal about them. If you play through any minor or even major errors as if they had never happened, no-one except the most die-hard of your fans will ever notice. That is what makes a band professional to ability to play together as though any mistakes never happened, not to never make any mistakes. [quote name='blue' timestamp='1499941046' post='3334649'] What Punters Notice At Gigs is a good topic, but has absolutely nothing to do with my thread IMO. Blue [/quote] IMO they are one and the same.

I don't see what the problem is. A quick look at completed listings on eBay shows that if you wanted second-hand versions of the original edition pedals that these are copies of, you could be paying nearly as much. In the world of guitar tones technically improved doesn't always mean a better sound.

IME trying out amps and cabs in a shop is about as much use as perusing the specs published by the manufacturers - almost none at all. The only way you'll know if a cab is suitable for you needs is to use it in the context of your band at a couple of rehearsals and gigs.

You don't need much of a shim to create a significant change in the neck angle.