BassTractor

[quote name='Skybone' timestamp='1404469183' post='2492859'] no mention yet of Voivod [/quote] Great band!

[quote name='davehux' timestamp='1404301175' post='2491268'] and can stun cattle in the bottom field [/quote] Well Pow, it looks like your search is over. No need for an LB30 + MiBass 550 anymore.

Dalbello! (aka Lisa Dal Bello)

Only relating to the title of the thread, and not to the content of recording situations and overdubs: Rather than pee'd off, I did get somewhat startled when a friend volunteered the notion that it was startling that someone like me would voluntarily choose JUST the bass as an instrument... I still shake my head in disbelief three years later, but then again I do realise it just means he needs to hear more different music.

Welcome, Sparky... er... Sgt. Pryor, sir! Your English seems fine to me. (Then again, who am I to judge; I'm not a native either.) Anyway, enjoy the forum and its banter! best, [s]walter eugene o'reilly[/s] bert

[quote name='discreet' timestamp='1404216580' post='2490359'] I agree, bite his hand off and enjoy. [/quote] Aggressive posts will be deleted or moderated. Lets keep it on topic and not fall out.

"In our computer controlled relicing process, we only use the best of floors, real leather belts with brass and stainless steel buckles, and only the finest - pre-K that is! - Zildjian cymbals. [size=3][i]Sabian-hit relics made on special order, at a premium[/i][/size]."

Conan, I've always experienced you as an honest, level-headed and resourceful person of good will - a real asset to BC. I do not believe for one minute that you had a hidden agenda. ( FWIW, I do not know Conan personally, and have had no dealings with him. In fact, the thing I most remember him for is him heavily criticising me. ...misguidedly of course. )

Welcome, Tomas! What discreet says. Enjoy the forum! bert

Having used mainland gear in the UK as well as UK gear on the mainland without any problem ever, I'd say go for it. That said, some gear is more sensitive to low or high voltages than other gear. Taking for example some 240V gear to a 220V country and then using it in a remote area where the actual voltage might be well below 200V, may pose a risk. Here where I live, TV sets on the islands always broke until the system voltage was raised. Another issue is whether the loval system has one or two live wires. This may cause trouble for [b]some[/b] gear. The charger for Tesla electric cars for example had trouble in Norway - most probably due to Norway's use of two live wires of 120V each.

[quote name='TimR' timestamp='1403995597' post='2488472'] Ears. [/quote] Bollocks! ...and of course I mean that in the most additive way I can. They need ears, and they need bollocks. Bollocks in a musical sense, that is; I don't care if they're male or female. Then again, this probably goes for every type of instrumentalist or singer, and for every style, but I do sense it's even more essential for drummers. The worst drummer for me is the "follower" who depends on others' quality and then will colour it with some noise. Mind you, the probably best drummer I've ever played with was not som rhythmic genius, and was rather a very melodic drummer. This is cool too. He had bollocks.

Welcome back, oldbie, from a newbie. Good luck! bert

Slight update: according to a local distributor, Korg are no longer sure about the september 2014 release due to talks about the use of the "Arp" name not being finished. More time to save money, and get two!

Also, if you wanna read more about them, just search for them in this forum (I mean in "Amps and Cabs"). They've been discussed many times, something which might in part explain the limited amount of answers you're getting.

Welcome, Ade! bert

Welcome, Zach! Though for versatility, all you need is a StingRay and an Orange Terror Bass. Enjoy! bert

You're doing great, Al, and I'm sure it's much appreciated. I just found it a funny notion/concept that someone with a history since February welcomed someone with a history since July last year, that's all, and as you know I can never resist trying to joke about stuff. I'm easily inspired, but hardly inspiring. Oh, and may I use this opportunity to welcome Kiwi and Ped to BC!

[quote name='Cosmo Valdemar' timestamp='1403610611' post='2484391'] I have in the past asked the Gallery to price match and have been met with point blank refusal. [/quote] Hooray for The Gallery! My kinda shop.

[quote name='CamdenRob' timestamp='1403775213' post='2486116'] To be honest the beer holder is far from the most worrying thing about that photo..... [/quote] +1 Indeed, they're quite overpriced. For the same money you could get a Bongo!

[quote name='Allie' timestamp='1403768352' post='2485982'] Welcome to the light! [/quote] Really great minds think alike. ... but have you read the BC Terms of Use, Al? Are you sure you newbies are in fact allowed to welcome someone who's been here for a year?

Thanks for your kindness.

Welcome, Will! best, bert

[quote name='BottomE' timestamp='1403552484' post='2483878'] BassTractor i lost you halfway through the post [/quote] I don't blame you, mate. I had a terrible time trying to word both my posts, was painfully aware that I didn't get the clarity I was after, and was hoping that someone would chime in with better wording. Seeing that I lost you, please allow me to try and word this slower and possibly simpler. Mind you, I mean no disrespect! It's just that we all are different, and there are also other possible readers besides you - readers with all kinds of knowledge levels as to the physics of sound. It's about the speed at which sound travels and the consequences for the impact that a reflected sound has on the original sound. When a speaker is close to significant reflecting objects, then reflected sound added to the direct sound (this is mostly the same as amplitude modulation) will boost the sound at certain frequencies, nullify it at other frequencies and modify the overtone spectrum of yet other frequencies. Most typical example is when the reflected sound comes in and gets blended with the direct sound, but is exactly one half cycle late, so the positive amplitude from one source coincides with the negative amplitude of the other source. In this case they'd potentially nullify each other. When the time difference between direct sound and reflected sound gets bigger than a certain threshold (I think it's 50 ms, but may be wrong), the human ear starts recognising it as reflected sound, and this is some way reduces our experience of the modulation going on. I don't remember this stuff more exactly right now, but one should keep in mind that the attack phase of any tone is crucial for our evaluation of the tone, and therefore also the lag time that the reflected sound has is crucial, unless it is more than the threshold I mentioned. Anyway, since we know the speed of sound and we know the frequency of the first harmonic of every tone, we can quickly calculate crudely which distance to reflecting obejcts will likely have an effect on which tones we play on the bass. Since you said the nullifying was worst on the E and got gradually less bad on higher and higher notes (if this is ideed what you meant - I'm still not 100% sure I understood correctly), my immediate reaction was that this seemed like a typical case of reflected sound nullifying the direct sound. That does not mean however that this is the definite answer. It's merely one of the causes of certain frequencies being weak and others strong. Standing waves (closely related, but not identical), absorption and sympathic oscillation (probably the wrong term, but it's all I could come up with) are some of the others.

[quote name='ahpook' timestamp='1403625532' post='2484688'] Had to check that [/quote] Me too!

[quote name='Allie' timestamp='1403628504' post='2484720'] Oh dear Bert - thought you loved everyone/thing [/quote] Yup, my love is huge. (Let's hope Mark doesn't see this.)