Dood

I will be there!! Expect my Instagram feed to have various pictures appearing too: [url="https://www.instagram.com/danveallbassist/"]@DanVeallBassist [/url] - Give me a follow.

[quote name='Bassassin' timestamp='1487154726' post='3237519'] Not sure why I've never seen (or contributed to) this thread myself - will post a few of my Mats in a day or two. However - the role that this community has saddled me with means I must occasonally drag you all off to Pedants' Corner for a good talking to. First thing - it's now accepted that Washburn was never built by Matsumoku - initial models were from Yamaki and production later moved to Chushin Gakki. Doesn't really matter because no-one's posted one, but pedantry's pedantry, right? Secondly (and if I don't point this out I risk being formally drummed out of the International JapCrap Obsessives' Guild): unless your instrument is an Ibanez-branded Gibson copy, manufactured before 1976 and featuring an "open book" headstock profile, it is not, and never will be, a "lawsuit" instrument. And to muddy the waters even further, even that's not technically right because no lawsuit ever took place. "Lawsuit Era" will do at a pinch, but "Copy Era" is the proper terminology, covering. as it does, the entire range of 70s MIJ and MIK knockoffs. In my defence I've had less than four hours sleep, have a stinking cold and have spent the last fortnight "sleeping" on two uncomfortable single mattresses piled on top of each other, under a couple of scabby dog blankets. And they call this a holiday. Trust me, you'd be feeling petty & bloodyminded too, if it was you. [/quote] I really appreciate the information! I was aware that the 'lawsuit' didn't happen, but I assumed that people called the period that as a 'capture all', even if it wasn't strictly true. A bit like calling a vacuum cleaner, no matter what brand, a 'Hoover'. I didn't know where the 'lawsuit' that didn't happen was directed though so I am actually happy to know that now with your other points. I hope that you are now home and under your own comfy covers!!

The 500 replaces the 470 model. I think it is a bit smaller and a bit lighter in comparison. In review, I thought the 750 was very good.

[quote name='dood' timestamp='1486074920' post='3229131'] I'm in the process of having a 'new' Precision and am just waiting for some pictures to come through. Quite excited at the prospect of sharing it! There's quite a story to go with the pictures too! (well, for me it's interesting anyway!!) [/quote] [quote name='Bassman Sam' timestamp='1486077879' post='3229162'] You're such a tease. [/quote] Yup [quote name='ead' timestamp='1486109562' post='3229235'] Dood's a complete tart. Feel free to provide clues though. [/quote] Fair comment Ok, here's a clue. My favourite bass player did something to his basses in the late 70's to mid 80's. This will end up being a tribute model in that spec. Kinda... a work in progress if you will! Rumour has it, the instrument in question is nearly ready! In other news, I've been editing my Matsumoku made Aria Pro II '76 Precision bass too and will be reposting some pictures of that. It's so close to a 'real' precision that all of the Fender parts I've bought to upgrade it with are an exact fit. Even the pickguard!!! Ash & Maple for the win.

The D'Addario Eclipse is brilliant, I have two... in different colours! A yellow one for my yellow bass and a purple one for the 7 string. Tunes to B no problem. I've just managed to get it to go as far as G# below B! For pedal tuners, I've owned the Korg Pitchblack for years and have never worried about upgrading it. Built like a tank and it's display is really smooth, doesn't flicker or jump about. The TC tuner is great too though I don't own one.

It looks like the H2n does have a fader to mix the levels between front and rear mics too though.

I think in this case, as it is designed to pick up an ambient mix, omnidirectional spillage is actually a good thing. Well it's what I envisage anyway.

[quote name='nomis' timestamp='1488211154' post='3246823'] Maybe I have entirely mis-interpreted what you have said here but can you engage and disengage the drive section of the B7K whilst leaving the EQ running via the single foot switch? [/quote] [quote name='Jack' timestamp='1488211802' post='3246830'] No, but you can on the B7K Ultra. [/quote] What Jack says

Here's a new link that will take you directly to the current magazine issue and the back issues too. I will however add each issue content in to the first post when I have time. Due to changes online, some of the earlier links no longer work, but use this one instead and that will hoepfully take you to each magainze front page: https://www.guitarinteractivemagazine.com/issues/

Wow, what a great idea Painy! - I'll be coming back to read all of these posts in detail and post my own too. Awesome! Geekathon!

[quote name='mcnach' timestamp='1488163747' post='3246439'] please report back, it'll be interesting to hear how it works for you [/quote] I ran the H1 last night feeding the output direct to my 64 Audio A8's. I have to say it was a very successful experiment, but I found that Mic placement for this stereo field recorder was important. Pointed away from my bass gear but next to me seemed to work well as I had a really good pick up of the acoustic drums. I think one of the reasons that the A8's made a good match is that they have a special module in them (ADEL now APEX technology) that does allow then to also work a but like normal ear plugs as a 'side effect'. I've chosen a module with -18db attenuation specifically for the onstage volume I am most likely to encounter. The H1's 'ambient' output therefore added clarity and dimension to what ended up in my lug holes. A very interesting experiment as I didn't really rely on the H1 for say low end as I could feel it as usual, but I blended in just enough from the H1 so that I could hear top end clearly. I appreciate this whole plan is a bit slap dash and pales in comparison to a full ambient system, but for an 'active personal ambient system' on a shoe string budget, this has been pretty amazing. I am definitely going to try with the 'surround sound' H2n so I can pick up audio from in front and behind the device, straight to my A8's. Given the results, it's very likely I will do a video explaining everything in more detail. Kit to test: Zoom Q4 Zoom Q8 Zoom H2n The thing I like about the Q8, is that not only does it have stereo microphones on that I can set up in the manner explained above, but it also has a pair of 1/4"/XLR inputs too, so I can feed another two channels of audio in to it - such as a click track or a stereo send from a mixing desk etc. I doesn't do 'rear microphones' though so there's a trade off. I'll do some pictures and probably a proper thread in time. In short though, of course the Zoom's weren't designed to be ambient monitors, but I can't think of any other gadget on the market that comes close as these do to what I would ideally like to achieve (without going for something like ACS Live!). Updates soon!

[quote name='ped' timestamp='1488135337' post='3246204'] Check ur PMs [/quote] Oh! will do fella!

So who bought the Ash and Maple fan-fret Jazz from Bass Direct recently? That I have to say was a very nice bass indeed.

[quote name='elephantgrey' timestamp='1488117936' post='3245957'] Well I use my ms60b basically exclusively for always on time effects (equipment, preamp, noise gate, amp/cab SIM) as part of a board. The only need I'd have for the b3n would be modulation/looper, and I use midi to sync up all my time based effects. If it had midi, I'd probably get one for both my boards. [/quote] I'm using an external box that allows patch selection via MIDI. I didn't need any other options, but being able to tap 1 button to go straight to a patch is pretty important. There's a good chance I'd be able to use the same controller for the B3n too.

[quote name='owen' timestamp='1488129903' post='3246117'] Yeah, I guess that making it all up will tot up the price. They have some plate amps which come all set up. I have tried one on a BF FR and it certainly delivered. I remember that amp and it is what was kind of making me think out loud. The Hypex PSC2.400 which features 4 fully programmable DSP memories are 275 Euros excl Vat. They are discontinued. Someone tell me why I should not do this.[list] [*]wo 400W UcD amplifiers [*]Powered by SMPS400 [*]Four programmable presets [*]Balanced audio input [*]Balanced audio through loop [*]Powercon power connection [*]Two channel active filtering [*]Fully user-configurable DSP filters [*]Firmware update by USB [/list] [/quote] [quote name='owen' timestamp='1488130013' post='3246121'] [url="https://www.hypexshop.com/DetailServlet?detailID=3400"]https://www.hypexsho...t?detailID=3400[/url] [/quote] It's exactly where I'd go for an amplifier module. Or a Powersoft module for example.. The only reason why I haven't done it so far is due to the reasons above (BeerOfTheBass) that slightly (hugely) outweigh the likelihood of me making a dog's dinner of crafting an enclosure! I just don't have the right tools. I do love the idea of onboard DSP though, especially when it can work in tandem with the speaker enclosure connected. The Bergantino B|Amp or Barefaced's FR800 powered cabinets are a good example of this.

[quote name='mcnach' timestamp='1488115202' post='3245925'] Yes, the H2 has two front and two front mics (one set at 90 and another at 120 degrees) but I have not tried the quad mode and see how it sounds through the headphone output. I haven't tried the set up yet (it's actually going to be slightly different: different mixer and earphones, and bringing signal in from either main desk or tapping one or two monitors directly onstage). The H2 will likely be close to me, at the back, probably high and behind the drummer, so I didn't think of the quad mode as I'll just be using one pair of mics. [/quote] Thank you! I'm going to try out a stereo system this evening, if that works well I will definitely want to try out the 4 to get an 'all round' mix. I haven't decided on mic placement yet but I'll just see if the theory works in this band environment.

[quote name='owen' timestamp='1488064316' post='3245615'] I will take that as a no then. I am genuinely interested in whether this is a stupid idea or not. [/quote] Alien did that for another BassChatter and the results were very good. It was a while ago and I've certainly thought about doing that with one of their latest gen amplifiers that from a geek perspective are ace!

https://dl.dropboxusercontent.com/u/10881008/BassPitch.mp3 Ok, so I should be working right now, but I dropped down the quickest, messiest groove for you with similar settings with a Low D in there. The pedal seems to hide what it can't do, but all the other notes are definitely in there!

oh, p.s - the two pitches right at the end that sound wobbly (after the clicks I inserted) are Eb and D

Something like this you mean? https://dl.dropboxusercontent.com/u/10881008/BassPitch%20and%20Bass%20Chorus.mp3 The pitch is set at 75% wet so there's very little dry signal coming through and there's also a smidge of chorus in there too. The reality of pitch that low is that Analogue pedals won't do it. Digital (DSP) pedals can, but there's a caveat. Analogue sounds great but it tends not to track so low. DSP goes low, but in order to do it, the DSP needs more waveform to process (because lower frequencies have a longer waveform) so what you can end up with, is a small delay time before the octave down pitch comes out. The longer the delay, the less likely you were going to suffer from glitching as the processor can sample the waveform better. I had a TC processor that allowed the changing of the pitch processing time and that demonstrated the issue clearly. I wouldn't have that much wet octave in my sound and thus the dry signal would more than mask that delay. This clip isn't indicative of the sound I would set up, because I'd also add some EQ to the octave down if I could and what you are hearing here is a bass with no EQ, no amp, no compression, just straight in to the interface. p.s. you won't hear this well on laptop speakers or earbud earphones.

[quote name='fleabag' timestamp='1488030936' post='3245185'] I cheated dude Thats Plasti-Kote white primer , then 5 coats of Hycote Lacquer The pickups have already receievd the same treatment. Bridge is next [/quote] That's not cheating, that's a tidy bit of work right there! I look forward to seeing them on the bass!

I'd be interested in responses too on this subject. I loved my Mission based cinema system but it had to go when the little one came along. Well, not so much little ones, maybe significant other didn't want them in the front room lol.

[quote name='mcnach' timestamp='1485005988' post='3220324'] I'm now thinking of trying that myself! Using this: using the Zoom H2 for ambient sound, and the OmniCabSim for bass sound, mixed with that little but pretty versatile mixer. I was checking the H2 the other day in my office (I had the bass at work, and the H2 lives in the gig bag)... It was very interesting to set the gain switch to "High"... I could hear when people were opening doors down the corridor because the whirring noise of the equipment fans in the room... and I could hear conversations quite clearly next door that normally you could not make out... Obviously I'd want the gain set 'LOW' during a gig, as I do for recordings during rehearsal, but that was pretty cool. They're decent little microphones, those in the Zoom units, eh? [/quote] I've only just found out the H2N has 4 mics for surround sound. Does the H2? If it does can you get a sum of all through the headphone jack? So possible to pick up sound in front of and behind the device?