DanOwens

I use a Line 6 M13 which allows patch changes to be received via MIDI but although I have extensive experience of using MIDI live, I've only dabbled with full-band automation in rehearsal. As such, I don't have a thorough knowledge of the processors available but to be honest, the decider with this should not be 'what can do MIDI?' as most top-end gear can; the question should be 'Which processor do I prefer?'. This is down to GUI, sound and a matter of personal taste. As CK's already alluded to, how you work this as a band will dictate the decisions you make regarding switching. If you're running a sequencer and feeding a constant stream of MIDI clock to everyone's gear via daisy chain then you need to make sure that everyone is on separate MIDI channels, that way you won't get crosstalk between your's and your guitarists' gear. Otherwise, you'd need a MIDI breakout box such as the M-Audio Midisport 4x4 [url="http://www.m-audio.com/products/en_us/MIDISPORT4x4AnniversaryEdition.html"]HERE[/url] and set each output to each player. Secondly you need to get all the RNPN/RPN tables for your gear (sometimes called MIDI Implementation Chart). You essentially then decide what you want to do, find the MIDI message that does it then program it into the sequencer at the appropriate bar. Doing this, your drummer will need to be on in-ears (I recommend the discontinued Yamaha Clickstation as it can sync to a MIDI Clock source). If you set up tempo changes too, and rehearse your set to include appropriately-long breaks then no-one will have to think about it. The obvious problems, however are your sequencer crashing or wanting to re-start a song. The other option is for someone to trigger the MIDI messages. To do this properly, you're still going to need a computer as you need to send multiple MIDI CC messages and as far as I'm aware, neither the Behringer FCB1010, the Roland FC-300 or the Yamaha FC900 allow multiple messages to be sent; as such, you'd need to send one message with the floor controller which would trigger multiple messages from the computer to the devices. If you don't know much about MIDI, it's fairly simple to understand and very necessary if you intend to do this properly (although it could be someone else in the band, not you particularly). If you've any more questions, there's some great knowledge here. Dan

Are just a few bits of weirdness

The original tape space echos are highly rated amongst a variety of reggae and electronic artists. I know it's the later RE-3 digital version, but as a rack reverb/delay its probably quite usable. Defo put that up here before ebay and I may take a punt. Dan

It's just a great pedal. I've used the mix and drive controls to get a great heavy rock tone as well as the obvious sweeps. Dan

Would [url="http://www.banzaimusic.com/Hammond-1590B.html"]THIS[/url] be suitable? Dan

Check out my band thebrokendoor at [url="http://www.thebrokendoor.co.uk"]www.thebrokendoor.co.uk[/url] and our bandcamp [url="http://thebrokendoor.bandcamp.com/album/52"]HERE[/url] where you can find our album, single (Extreme Prejudice) and our various audiovisual projects. Dan

[quote name='bobbass4k' post='1108849' date='Jan 30 2011, 10:50 PM']That's a big enclosure for a feedback loop, I'd say you'd want an MXR size box, they should have those on Banzai.[/quote] I don't own any MXR pedals. Any chance of dimensions / a link? Thanks!

The circuit is [url="http://experimentalistsanonymous.com/diy/Schematics/Buffers%20Switchers%20Mixers%20and%20Routers/Feedback%20loop.gif"]this one.[/url] I'd want as small an enclosure as possible so is there a better enclosure on Banzai?

The wobble is An LFO routed to a LPF (read my early blog post). There are a few other LPFs but the moog is a favourite for a reason.

Found this enclosure at Banzai [url="http://www.banzaimusic.com/Enclosure-BB-Orange-Bulk.html"]HERE[/url]. I've got all my other parts but I'm unsure about the size of this. What do you experts think?

[quote name='Paul S' post='1105084' date='Jan 27 2011, 02:09 PM']In the long term I think a proper stomp box and one or two proper pedals is the way forward, though.[/quote] That's where most of us end up eventually.

That bridge is beautiful on the body. The whole thing is a careful balance between taste and ostentatiousness. Very nice, Shep!

[url="http://www.google.co.uk/products?q=graphic+EQ+pedal&oe=utf-8&rls=org.mozilla:en-GB%3aofficial&client=firefox-a&hl=en&lr=all&um=1&ie=UTF-8&tbo=u&tbs=shop:1&source=og&ei=mVRBTdG0BM2tgQens_WgAg&sa=X&oi=product_result_group&ct=title&resnum=3&ved=0CGUQrQQwAg&biw=1440&bih=736"]Or there are these[/url] (UK google)

[quote name='cheddatom' post='1104859' date='Jan 27 2011, 11:21 AM']you could get some sort of expression controller built into the bass. Like the zvex proximity plate on matt bellamy's guitar.[/quote] + 1

What Doddy said: What is the output on your amp? What is the input on the PA? The reason why we've both asked this question is mostly PAs have XLR ins and Bass amps have XLR outs (so we're confused by the '1/4" Jack' bit). Dan

[quote name='pete.young' post='1104791' date='Jan 27 2011, 09:39 AM']If I've understood you correctly, you have just described Max's new Loop Control pedal, which is described down towards the bottom of this page - [url="http://basschat.co.uk/index.php?showtopic=71973&st=140&start=140"]http://basschat.co.uk/index.php?showtopic=...0&start=140[/url][/quote] This would definitely do the job. Don't be freaked out by the weird matrix system blue/red thing though - its actually a really simple interface. Dan

Regarding custom being cheap or not, ask for some quotes! There's nothing off the shelf that will do exactly what you want but there are plenty of blenders. A second-hand LS2 will be a cheap way to experience the blend thing, anyhow. Dan

[quote name='Doddy' post='1104664' date='Jan 27 2011, 01:41 AM']Why would you suggest practising the modes in that particular order,rather than according to their scale degree?[/quote] I would recommend people practice them in all the orders they can possible think of, but this is the modes in the cycle of fifths, ergo one note is flattened each time (Lydian > Ionion = b4 / Ionion > Mixolydian = b7). It fits with the memorization of the intervals since only one interval changes at a time, but you are also practicing the modes and the cycle of fifths. Dan

I should've also added: 3. Make a 13 x 8 grid in word with the names of the modes down the left (in the order above) and the names of the intervals along the top. Put a cross in each of the interval boxes that occur in each mode. You'll notice some interesting mathematical patterns! Dan

A user asked me to go into some detail about my open-string suggestion. I've been on the malt so it's a bit rambly, but here's my reply: [quote]I'll paste some of this into the thread but I'll keep you anonymous if you like; my thinking is that if you're asking this question, I can guarantee that there's 10 other people equally nervous about asking the question but who didn't get the courage to ask for help with it. I'm a high school music teacher so I'm sorry if any of my reply patronises you, but it's best to start at the very beginning (it's a very good place to start - Julie Andrews!). I suggested using open strings as the root because its a simple thing to do and most bass players just learn the shapes from a book and never understand what they mean; this basic understanding of the rules of theory allow us to quite confidently blag our way through pretty much anything (I did this for 5 years) but to really get a good grasp of chord tones and relative and cumulative intervals (the terms I use to describe to distance between notes in the scale and the distance between the root and the notes within a scale), a more thorough approach is necessary. First of all, you need to name the interval between the root and each fret. Then you need to listen to them as double stops to develop your ear. Take your time and play the sounds together. Could you (without thinking about it too much) play a major or minor scale from the open string to the octave? That's the next step. If not, that's a hole in your knowledge you should attempt to plug. It's quite easy to do if you already know the shapes so just try it. Then try all seven modes, naming the interval abouve the root out loud as you go; work in this order: 1. Lydian 2. Ionian 3. Mixolydian 4. Dorian 5. Aeolian 6. Phrygian 7. Locrian We're continually developing our ear and our ability to think in intervals. If you suffer from dyslexia (like me) or dyspraxia this is going to be difficult. Focus on the ear training and let the rest some over time. Basically, I've just shrunk down about 3 months of decent A-Level lessons in 3 paragraphs. This can be difficult, but it's worth spending the time. Actions: 1. Create a word document with a table in it with 12 boxes. Write the names of the 12 intervals in the boxes, print it out and stick it somewhere. 2. Refresh your knowledge of the modes and figure out how each is played on 1 string. My god, its late and that's a lot to think about!![/quote] It gets a bit teacher-y towards the end.

3600W? Mine puts out 1.21 gigawatts!

The idea of blending fuzz and your dry tone is one that many players utilise to great effect, so take some solace in the fact that you're not the only one who's pursued this line of thinking. A Boss LS2 (around £50 secondhand) would give you the ability to parallel blend (like your amp) and the ability to bypass the blend, but you wouldn't be able to switch to 'full on'. Maybe others know better but I think you'd be looking for a custom build from one of the builders on here. I'm an effects junkie, but my niche is exactly the type of thing you're trying to do. It's worth the effort!

'Full Wet' would be the sound of your bass being plugged into the pedal and the pedal into the amp. Out of interest, what pedals would you be using? There's an interesting (but short) thread about using effects loops [url="http://basschat.co.uk/index.php?showtopic=119729"]HERE[/url] but as far as your blending requirements go, this wouldn't change no matter if they were before your amp or in it's loop. What about the way the amp is 'set-up' do you want to replicate? And how do you want to use the effects (ie: verse clean, chorus wet, bridge blended or perhaps one setting for one song, another setting for another song)? Dan

This is what every purchaser of this amp expects. I'm sorry to say, it may not actually happen.

[quote name='Skol303' post='1103742' date='Jan 26 2011, 02:44 PM']PS: Dan - I've been having great fun with that Morley wah pedal I bought off you last year! Hope all's well with you.[/quote] Great stuff, Paul! I've bought a Line 6 M13 so I've been abusing the wahs on that! With the interval stuff, just learn the major and minor scales on one string. This will help you visualise the distance between your root note (open string) and say a major or minor third. You want to learn the names and sounds of the interval between your open string and anything else up to fret 12 (and beyond, but start at 12). I guarantee that if you do this with all your major modes (and by playing the minor scale, you've nailed two of the seven already) you'll have your modes, your ear and your intervallic understanding totally nailed. Dan PS. Only one of my students ever really put the work in and got this and now he's a successful professional player.