Dood

No mention of electronics, but here's the original bass manual for these models too: https://www.fmicassets.com/Damroot/Original/10001/OM_leg_bass_Power_Jazz_Bass_Japan_1987.pdf

I have a pair of the "Power" models and, having stripped out the electronics I can't really be of much help, however, I just wanted to congratulate you on your new purchase. I adore the 80's MIJ Fenders. These basses really are incredible when you can find one that has been looked after. I keep trying other basses but for my 4 string needs, my pair are beautiful. I actually want another for a little project!

A genuine thanks; I need to hear what viewers are actually thinking. I thought that there might be a place for reviews that go in to detail and maybe teach something on the way (hence why I will demonstrate what a semi-parametric is and how it works. for example) but, it sounds like there is a balance to be had and a few things I can learn on the way. I create all of the material myself, I don't have an editing team, a producer or anything, so I'm still on a learning curve which is incredibly labour intensive along with finding time to teach, be a professional musician and a single parent to my lil demanding kids. Thank you and I welcome more views.

No one has mentioned Bass Gear Magazine again! I've been on board the magazine for a little while now and shoot all my reviews from my own studio here in Blighty freelance. I've a long list of really great gear to get through already and we've only just started the year, It'd be REALLY great to have more subs and, just more of you reading my reviews! Genuine question though, as I'm busting my b***s to create high quality content... why is no one seeing it or sharing it? I post long threads here with all my review links in, so there's little effort on the part of the reader required to access them, but there doesn't seem to be much feedback or replies to my posts? Maybe I'm doing it all wrong and I should be doing slap bass ego trips, lots of shouting and stupid click-bait? lol! - It's worth noting that I don't get paid per click or by advertisers or brands, so follows, likes and clicks are not so I can earn extra money, it's because I want to be out there earning exposure dollars (said no working bassist ever lol but in this case, it's true. I DO want to be on everyones 'top reviewers' list!!) Whilst you're here, please subscribe to my own YouTube Channel where this year I'll be posting high def shorts of my reviews. Example review here:- https://www.bassgearmag.com/bassic-review-spector-euro4-lt-bass/ You can sign up for the free subscription newsletter at the bottom of the review linked here.

I wish they'd sort out some of the niggles in iRealPro (at least on the Mac version) - it's so close to be an amazing application, I think it just needs a cash injection and some developing. There aren't may applications that "do" what iReal does, but if you are happy making charts, searching for songs or notating tracks, then look at HookPad, MuseScore and Guitar Pro. Songsterr is an option if you're happy with wildly questionable notation at times.

I would have shared the videos I made for a magazine covering the RH450, RH750, BH and K series cabinets but it seems they've all disappeared from the internet.

https://www.tcelectronic.com/product.html?modelCode=P0CIU Just checked my browser for you and I can see the kit. Here's the RH450. Though I have to say that the search on the TC site has been a bit questionable at times in the past.

Yes, that would be the most basic way to do it. Annnnnnnd it’s stereo! In my video I explain that you could feed the Zoom output in to the PA and mix the sound with an IEM mix too (mono or stereo depending on your gear) or, as I did for a gig last night, I sent the IEM mix and the Zoom mix to a personal mixer in front of me and that connected directly to my in ears. This allowed me to retain a stereo ambient mix with a mono IEM feed. Mix to taste.

Absolutely! Like the amount of strings or what amplifier the bass is plugged in to.

Vocal microphones are often cardioid to reject ambient so the benefits are very limited. I've even tried the method using the drummer's overheads, which works a little better but not as effective. A dedicated system designed to pick up ambient sound (in stereo) will "pay for itself" in a very short time. This is by far the cheapest and simplest method to implement, furthermore, one of the benefits is that the ambient sound is coming from where you are stood and not spread across the entire stage, meaning you actually feel more connected to the sound you are hearing. A side effect is that you can hear your cabinet sound behind you if you are also using onstage amplifiers. Oh and proper, well mixed IEM mixes, in stereo for the win.

Yes thank you! I have actually much updated the "system" that I've been using for many, many years now and will eventually get round to shooting a video for it. Here's the original:-

Another quick pointer: I don't use any wireless kit for my current gig. I put the money that would have gone on decent wireless gear straight in to a much better set of IEMs and a wired headphone amplifier.

If you are using ear plugs, I have a clever trick, but it will mean balancing the sound should you have monitors on the floor. I use moulded ear plugs and have different filter values I can swap out. Should I be doing backing vocals and IEMs aren't available the trick is to choose the filter that allows you to hear your own voice inside your head with enough volume coming in ambiently to pitch with. Furthermore, I'd pitch to my bass guitar (don't try to listen to the singer and pitch to them) meaning my own pitching was a lot better. As soon as I started using this method I received compliments on my backing vocals! These days we use IEMs and, whilst I am currently not singing, we do have a complete mix in my ears ready for when I do.

Like a drummer using brushes or lightning rods? Then yeah. Ramps, like plectrums are not a crutch to "fix" anything, despite what many a naysayer has projected.

Headless, check, zero fret, check, ramp, check, active pickups, check, garish finish, check, unusual strap mounting method, check, too many strings, check, plays with a pick, check, chords, check, tapping, check, too many notes, check, uses effects, check... I am going to hell, obviously!

Although you can rest your thumb on them, that's not really what ramps are for, otherwise bassists would just use a thumb rest, which looks prettier than some ramps I've seen stuck on instruments.

I love how these encapsulate the pickups too, because, let's face it, black rectangles aren't that exciting! Let's put the engine under a tidy bonnet!

Like MacDaddy above, my basses have adjustable ramps that can be wound all the way down out the way if necessary. In fact, it was a design I put forward to Shuker along with the series 2 body shape that has been in production ever since. YAY!

This is an interesting discussion and, to muddy the waters further in regard to running plugins on hardware (or indeed running any firmware on dedicated hardware): I had a long discussion with a brand a while ago about two pieces of hardware they were selling. Both devices appeared to have the same menus system and library of effects. The more expensive device could run three effects at once (a physically larger unit too) whilst the cheaper and much smaller device could run five. Did this make the cheaper device the better unit? Despite the architecture being similar, the "programs" running were less detailed and presented less load on the processor in the cheaper device, thus it was able to run more "effects" at once. To misquote Mr Malmsteen, sometimes "more is more" is, well.. not.. My take away.. Early hardware just didn't have processing power to do the work and the software algorithms (such as Neural learning) just didn't exist to the extent that it does today. This resulted in lower quality effects in comparison (but let's not forget this was cutting edge at the time!!) The best hardware in the world doesn't guarantee a faithful reproduction of the analogue world, the software on board is as important, if not more so. Trying to squeeze a big processor in to a little box is difficult and costly. I am sure there's an equivalent to Hoffman's Iron Law when it comes to DSP, "size", quality and cost! Eventide's H9000 springs to mind. That said I am truly astonished at what is being created in open source world. "Steve Ack";s Neural Amp Modeller plug-in is absolutely incredible.. the developers around this desktop application aren't taking any payment for it and the Neural models people are creating are just superb.

Comparing my 4k raw video and WAV audio with the YouTube version always makes me a bit sad. I get it and the reasons why it is this way, but having put so much effort in to the nuances of the sound and visuals, viewers aren't getting the full "effect" if you excuse the pun!

Also, have you tried (naturally) a different set of earphones in the same fault finding scenarios? That would have been my next move.

The Behringer PM1 is passive and thus it won't distort in the same way that the HPA, so, if you are still getting horrible distortion with the PM1, it's not the headphone amp at issue. So, it will either be the gain stage at the output you are connecting HPA to or the "IEM"s. Can you tell if it's source distortion or the earphone distorting? It's a very different sound.

Not at the time, but the architecture I suspect is MIDI compliant even if it hasn't been implemented... yet. I am certain Super Pre has a lot of miles left on the clock knowing the DSP on board.