Higgie

From one James to another.....Top bloke! Great communication, deal was very smooth and efficient. 3 days incl. from first PM to receiving the item is outstanding. Really hope to deal with him again sometime soon! Cheers Jim James

[quote name='dood' post='1310636' date='Jul 20 2011, 06:17 PM']A semi tonal discrepancy.. I like this! Wait for the chorus. [url="http://www.youtube.com/watch?v=9UWtcSvtiQw&feature=youtube_gdata_player"]http://www.youtube.com/watch?v=9UWtcSvtiQw...be_gdata_player[/url] Interestingly, some people I've played this to, just didn't 'get' it.[/quote] Love it! Tim Minchin FTW!

[quote name='woodyratm' post='1302311' date='Jul 13 2011, 01:36 PM']Here is my new setup - I havent taken a picture with just the board yet.[/quote] Awesome rig dude. Lovin the Lakky!

[quote name='KevB' post='1299932' date='Jul 11 2011, 02:33 PM']To to get back to the OP's point I think someone hit the nail on the head early in the thread with 2 basses. One tuned to Eb tuning and the other in standard tuning for those songs where the guitarist has shifted back up a fret on a detuned guitar to effectively get back to standard tuning. As it was a tune specifically mentuioned, when I have to play SCOM at jam sessions it is always in C, that took a bit of getting used to![/quote] I've always had to play it in 'D' position, but with the bass tuned down a semi-tone. Had to learn it in 'C' for a gig the other week (bass still downtuned), it went perfect. Fast forward a couple of weeks, have to play it in 'D' again, and I can hardly remember it! That one took some quick thinking!

+1 to that. Certain songs like Slither or Hysteria by Muse will utilise open strings to sound it's best, and even when using the 5 I will downtune my E string for Slither. If it's a song where I just need the range, I will stay in whatever tuning and go from there, if it's something riff based which needs the open string like Slither, I will downtune to make it easier. All depends on the song IMO.

[quote name='Al Heeley' post='1297596' date='Jul 8 2011, 08:03 PM']what about a 3-letter acronym using your initals or something with sonic or audio or sound, etc. in the title? Pun on another name like Dross or Fxtronix? Hboss BassFace S'thing to do with your basses? groovemonkey funkmonkey metalhead, i'm out of ideas now[/quote] That's what I was thinking. Something to do with Sonic or Audio or something but I just can't find anything that I like! More brainstorming to be done I guess

Whenever I've had to learn songs in alternate tunings, the band just say learn, say "Summer of 69" in the key of D, and THEN downtune to Eb for the gig. Easy as pie. Granted at short notice it's a bit of a bugger to transpose while playing, but if you get used to the patterns, once you find the root it's easy from there! Useful skill to have, IMO.

[quote name='Al Heeley' post='1297101' date='Jul 8 2011, 12:49 PM']Look great - I've gound best/easiset graphics have been desktop printing onto self-adhesive clear film, then spraying a few thin coats of acrylic clear lacquer over the top to protect the print.[/quote] Hi Al Cheers for the advice. Once I get a good printer I will be able to start making these graphics. I can't wait! Still struggling with a Brand name though. I only put "Jimbo's Custom Creations" on the SVT as a placeholder. Any suggestions??

As ET said, take the Line Out to your amp, then the normal XLR DI output to the Desk. I use the line out straight into the line in on my USB interface for recording. Works a treat!

Just designed the artwork for an SFT Clone I'll be building at some point in the future! All opinions and criticisms welcome!

Shep, There's the "Whammy Wheel" which has been sold on eBay for yonks - Same kind of idea as the Kickdisk, but looks a lot sturdier? Dunno if that would help? And as for envelope filters, of the "small" lot, I'd recommend either the Maxon AF-9, or the Subdecay Prometheus. Prometheus is a lot more versatile, but Maxon has it's charm. Also the MXR Bass Envelope Filter is awesome, and although I haven't tried them, I'm itching to get my hands on a 3Leaf Proton (to test against my Mutron) and an Aguilar Filter Twin. Really don't think you can go wrong with any of those units. Prometheus gives you the most bang for your buck, but might be a little bit too big. Just my 2p worth

Never had any band tell me which bass I should/shouldn't own or use. I've had band mates advise me WHICH of MY basses they like me to use, which I've always found more helpful than anything. Really depends on the situation though. I tend to like the more traditional basses anyway (All my basses are either P's, J's or Stingrays) so it just depends on the occasion. Function gigs where I might need a bigger range I'll take the SR5, a funk gig most probably SR4. A straight up rock covers gig I'll either take the P, or the J, depending on the setlist. If there are some songs with slap in them, I'd probably take the J over the P. All depends on the gig/mood I think. I would definitely like a P5 and a J5 too....though that's just for GAS reasons, nothing wrong with the SR5!

[quote name='Gunsfreddy2003' post='1286047' date='Jun 29 2011, 08:34 AM']What does it do to your sound and what are you using it with?[/quote] Bandwidth Optimiser. Basically it allows your amp/cab to run more efficiently by rolling off the really low frequencies. Hence 'Thumpinator'

[quote name='BigBassBob' post='1285996' date='Jun 29 2011, 03:27 AM']Got the Micro Thumpinator in the post yesterday [/quote] Jealous! I want one

When you do a Harmonic you are basically just placing another "node" along the length of the string. A node is a fixed point where the string doesn't move, like the Nut, or the Bridge. Without trying to go too deep into physics, the 12th fret Harmonic is exactly half way between the Nut and the Bridge, so you're effectively dividing the string into 2 equal parts by putting you're finger there. This doubles the frequency and produces the note an octave higher than the open string. When you create a Harmonic anywhere on the string, you are just dividing the string into equal parts. The length of the string from the nut to the 5th fret, is the same as from the 5th fret to the 12th fret. Therefore if you divide the string there, at the 5th fret, you will create a tone 2 octaves higher than the open string, as it's a quarter of the length of the string. That's the reason the harmonic at the 5th fret, and the 24th fret are the same, as the lengths between: Nut <-> 5th fret (first 1/4 of the length of the string) 5th Fret <-> 12th fret (second 1/4 or 1/2) 12th Fret <-> 24th fret (3/4) and 24th fret <-> Bridge (the last 1/4) Are all equal. You've divided the string into 4 equal parts, effectively doubling the frequency of the open string, and then doubling it again to get 2 octaves above. Dividing the string into different amounts of equal lengths will produce different notes. It's all about the frequencies, and what multiples will produce that frequency. As Doddy said, the harmonic at the 7th fret is the octave + a fifth. This is the same harmonic that is found at the 19th fret, as the lengths between Nut and 7th fret, 7th fret and 19th fret, and 19th fret and the Bridge, are all equal, you've divided the string into 1/3rds. It's late, and I'm tired, so I apologise if this comes across as a rambling mush of gibberish, but I hope it helped (and also that my understanding of harmonics is correct!)

[quote name='tayste_2000' post='1272038' date='Jun 16 2011, 08:01 PM']My studio / home / jamming board/s [/quote] Awesome setup dude.