basexperience

I've run the Cali76 on a voltage doubler - that one, actually - and it works a treat! The pedal doesn't demand much current, so all should be well with your power supply. I've got a great power supply with 9,12 and 18v supply built in I'm using it with now, ultra cheap from Thomas and amazingly well built, and silent, too. IEC direct in. ISO-10PRO, I think it's called. Gets great reviews!

Hey people! New joiner to the club - after I got this absolute stunner last month. BTW heads up to @Quent - a gent! Love this bass. The look is amazing. It's weighty, and I like that. Hardware seems pretty good - the tuners are a little stiff, I'm guessing they could use a little lubrication. One question though - anyone on here play a 5-string Marus with low action and .135s? I'm having some trouble getting an action I like with a straight neck (straight neck is easy, but I'm getting a lot of buzz unless I crank the action way up). I like a really low action, normally play pretty gently but love to dig in sometimes and the "choke" of the dig is part of it - I've got a couple of other 5s set up this way. I'm stringing everything with the same 135 gauge D'addario XL nickels. Wondered if anyone else likes the same. Ta in advance! AndyW

Got stuck in last night, some great tones there. I think I’m in love.

Yeah, I’ve just got hold of it and there’s loads there - even a YYZ tone! Whoop!

Excellent! Thanks matey, I’ll get the manual downloaded. It didn’t come with one!

Hello BassChatters. After playing Rush tunes for nearly 30 years, I've got some musicians who might be able to play it too, which is amazing. So I've splashed out via Reverb on one of these: https://www.tech21nyc.com/products/sansamp/di-2112/ Apart from being taken aback slightly by the dinky nature of the device (it's well made!) I've had about half an hour of tinkering to see what tones I can get out of a couple of Jazz basses (a Sire V7 Mk 2 and a Maruszczyk Elwood Absolution 5a). Both passive, both pickups on and full passive tone. I'm hearing good things, but wondered if anyone had any favourite Geddy type noises they've made with it, and some tips. Otherwise I'll just freeze frame Geddy demoing the rack mount and see if those work 😉 Cheers m'deers Andy

I'm using a Scarlett 18i20 3rd Gen with a2017 intel iMac core i7, 40GB memory and Monterey. Logic is reporting 36.ms round rip, 1.8ms output - I haven't done anything about low latency tweaking apart from selecting 32 samples as the buffer size. Drivers are the defaults. I don't tend to monitor through headphones, although I did do some recording direct into the interface the other day, so it's interesting to read up on tweaks like this. It seemed pretty usable!

Speaking of power supplies - biggest surprise to me was the quality of the Harley Benton ISO PRO supply - it’s built like a tank and it happily supplies all these pedals. Multi-voltage too, but not huge loads at higher volts. Worth a peek, and IEC in as well. They do a modular system too, with IEC interconnects.

So you think maybe if I rebooted the Mac?

Here's my three - all 2000s era German-built, with a 2002 ltd ed on the right. The Thumb I got last year, it's got the most beautiful grain I've ever seen on a thumb. Just stunning. And after a couple of setups recently, the blonde is growling nicely. They are just the loveliest things, Warwicks, aren't they? The thumb I used on a recording recently and the producer was blown away by the tone, absolutely loved it. Other side of the room has a couple of Warwick NEO cabs and a Pro Tube IX 900W amp stacked there as well.

I've been trying to enable push notifications in Safari - the preferences in Safari say they're enabled (the browser prompted OK) but the site just gets stuck at "enabling...". I've tried via the popup on the notifications bell pop-over, and via the notifications settings - both just hang there and don't say the feature is enabled. Any ideas?

@Andyjr1515 - thank you so much for an actual answer! That was truly illuminating 🥰

I’ve been thinking about this recently - I’ve never counted, but there must be a couple of hundred tracks I would be able to jam my way through. Partly I think it’s just experience - I’ve been playing more than 30 years - but partly I think it’s because I play them fairly regularly. last couple of years I’ve been called on to play a couple of Elton John numbers more regularly, and these have now “stuck”: they were new tracks to me, not heard before. I took the time to sit down with the tracks and wrote out some charts, which are hybrids of chords and the occasional reminder of an interesting little bass part which makes a verse or chorus recognisable. First two or three times I plays it live, I’ll use the chart and refer to it: I play through the track maybe 4-5 times in the week before the first gig. This seems to be enough to get it to stick - but I think a big part of it is enjoying the song, at least for me. It never feels like a chore - learning new music and finding interesting stuff in it. That seems to be what works for me, and the bonus is it really helps enjoy the gig an enjoying the music, with musicians who are enjoying it too. That infectious, smiley energy you get. Working with a drummer on the cool bits.

I've been gigging since 1989, and if I'm honest I prefer gigging over recording! Love rehearsing too. I particularly enjoy openmic nights when I'm in the house band - the variety of music you get to play is amazing, you need to be on the ball, and the audience is always ready for something they haven't seen before (at good nights, anyway!) The actual stuff about loading / unloading gear, setting up etc - I've got several sizes of gear I can take to things, and for pub gigs, it's a 15Kg cab and a 1Kg amp head, so TBH it's no trouble at all. Since I see a lot of musicians I know regularly, it becomes a lovely social event with everybody enjoying themselves - the function band type gigs I do, likewise because the band enjoys performing with each other and we get the chance to enjoy the songs with little differences on the night for the fun of it. The audience are there, true enough - but a lot of the time the fun is onstage: feedback just eggs us on.

I've got a V7 Mk 2 in swamp ash / maple - these look really nice!

My guess is the turning point (pun intended) was when removable truss rods stopped.

Thanks for pointing me at this forum mate, I have reciprocated. It's so nice to have a transaction like this go so smoothly 🙂

Just bought a fabulous Maruszczyk Elwood Absolution 5a blue burst from Quent. He made the whole purchase so easy, the bass is flawless and we even worked out a way I could get the bass direct from the Bass Gallery in London rather than have to courier it all over the place. <drool> Can't recommend him enough, we're still having a great DM conversation on basses in general even now! Top fella ⭐

I sincerely hope you don’t think Warwick truss Ross are left-tighten… https://www.warwickbass.com/warwick/data/Warwick.de/Technical PDF/Manuals/WWBassManual_en_2013.pdf “Truss rod adjustment: Turning the truss rod key clockwise (direction A) will tighten the truss rod and give the neck a back bow. Turning the truss rod key counterclockwise (direction B) will loosen the truss rod and give the neck a forward bow.” also: @Hellzero - what on earth is your problem? I posed a question, and in return I got a supercilious eyebrow raise. maybe a luthier can furnish me with an actual answer instead of strange combative responses… <shrugs>

I just bought an Elwood 5a absolution on this very site from @Quent who was kind enough to make sure I knew about this too. I wonder why reverse truss rods exist? None of the basses I have currently have one, this’ll be the first. Fascinating. I didn’t even know they were a thing!

Late to the party here, but I really like this idea. Portable, small and should get the job done. I’d be tempted to enhance the pucks with maybe a little Velcro or some other kind of temporary fixing to ensure the amp doesn’t manage to bounce itself off - a bouncy stage and a pogoing bassist could do that…