Dood

Then and now.. So many laughs.

I have very fond memories of hearty belly laughs with Nick and the odd cheeky selfie when we met up. I’ll miss his light that he brought in to any and every space. Rest in peace mate.

Perfect...

I know its a small detail, but I wish Fender would bring back the early 70's headstock with the full size (Gotoh shape) tuning keys. I wanna see a nice TV script decal too, I really have no idea why they thought the newer shape looks better?

Sire goes headless

I'm not there in person, but my fellow staff members from Bass Gear Magazine are, so I'm looking forward to seeing some pics appearing in my inbox of kit I'll need to get my lil paws on for my usual in-depth video reviews! Keep an eye on our Facebook page for posts too.

If Tricky can't help, I'd recommend https://www.noisyhammer.com who have built cabinets and kit for well-knowns as well as doing custom, boutique and even interesting upcycling projects. I've also noted that recently they have brought a luthier in for instrument servicing and building too. Tell 'em I sent you as they're local to me.

For 32nd note percussive phrases, I like to incorporate second and third fingers on my right hand too. For example, Thumb, LH, Pop Index, Pop Middle. Played slowly, to practice, each can be played on the beats 1, E & A in a sixteenth note phrase. Up to tempo its sounds really cool. Aside from the Left Hand percussive slap, Dirk Lance (ex-Incubus) replaced it with a palm slap from his right hand. Coincidentally, this was covered in a Scott's Bass Lessons Instagram post recently, though I remember getting exicted about that sound when the album SCIENCE came out in, I guess, the late 90's. Turning triplets in to straight 16ths and incorporating the 4 note groupings above, it's possible to create some really crazy 'odd timings' without even thinking about it. (Thumb, LH, Pop) + (Thumb LH Pop1 Pop2) would give me a fun 7 beat phrase for example. Very tech metal / prog!

I do as a matter of course! I'm using EMGs on all my basses with the QC and the input gain definitely needs pulling back even as a starting point. Check the input level meters to see what's coming in to QC. I also keep an eye on the output level meters too, (hence the hard limit at the end of the chain). I do have one issue with the QC with regard to this, a post maybe for another day, but I wish that QC had an analogue "line driver" at the output to make up for lost gain in the DSP path by staying "in the green" when gain staging.

Oh! I forgot to add! I can't wait until nDSP bring the Cory Wong plugin over to QC. I love the SSL desk preamp and "4th position compressor" (in parallel mode). In fact, the sound I want to use 90% of the time is the Cory Wong plug-in. It's brilliant for fundamental bass tone.

I've got a little time off from gigging so I'm planning on getting my QC up on the bench to have a look at the live presets I use. I need to tweak a few things, namely the compressors. Theyt all nearly do what I want. They are good though! For general use I like the 1176. I like chaining the 1176 and the Opto together for the 1176/LA-2a trick as well and, at the very end of my chain I have a very fast comp for brickwall limiting. I'm pretty sure that's the 1176 set to 20:1. I am thinking about adding an always-on external comp as I have the rather amazing Becos Stellar pedal at my disposal which has a transformer coupled DI out that sounds FAT. It seems a shame not to use it.

It won’t unless: a) direct monitoring is enabled on the interface, in which case the computer is essentially bypassed or b) there is a configured application running that the signal path is flowing through, such as a standalone amp sim or a digital audio workstation

I teach all of this as part of my teaching syllabus. I think recording and performance is part and parcel, important even for the “kit bag” that a modern musician needs. I’d say to anyone struggling to set up recording gear, PA, IEMs and (of course my other day job), everything bass gear: Seek out some lessons with someone who knows what they’re doing and talking about. A few pennies on a face-to-face lesson or two can save ££££ in the long run

Yeah on reflection I agree.. I’m still dozy from having played a big corporate show last night 😴 😁

That’s the one! Thank you!

Right now, I treat AI in a similar way to the methods I use in teaching a new theory or concept. To use an analogy, it’s a bit like deciding upon the ingredients, cooking, then setting the table before you eat your meal.

In fairness, aside from the wheels bit, that’s a fair review of the ND410S. I had a pair of them way back when. They don’t go “deep” but they are definitely punchy and a lot going on in the mids with lots of clarity. 1200W RMS iirc?

There’s a quote that has been floating around the internet that sums up my feelings about it too. Why are we getting AI to take away our creativity whilst we’re plodding along still doing the chores and hard graft, shouldn’t it be around the other way! This stuff is supposed to make life easier! AI can be “taught” how to do specialist tasks and I’ve seen some great results doing so. Yeah, I want it to do my tax returns, create my spreadsheets and social media coverage, help write teaching slides and help order my busy life.. and with the right tools, it can.

I agree! It’s still in its infancy. I write manual prompts to prime AI to be able to dish up high quality output, but most specialised (paid) apps already have that built in (coding, image creation, creative writing apps/sites, whatever), but I envisage, like “Apple Intelligence” along with many other products, the functionality will be baked in to Operating Systems as standard and for the most part not even visible.

Ha ha yes! I remember in my ole days of electronics logic and later coding, the adage we used was SISO .. 😂 When it comes to A.I. dishing out nonsense, it reminds me of this 80’s (?) interview with Bjork, long before smartphones were even a thing. The first 20 seconds says it all. I feel that A.I, like electronic music will only get better when we’ve figured out how to use it properly and improve what we put in.

You make a strong point actually. After over 400 gear reviews, videos and magazine columns, sometimes it's challenging to find new ways to describe the same tuning keys ha ha!

I'm not sure what I have done with my diagrams, but I created a 6 way switching system when I was a Dingwall tester. (Prior to the aftermarket switches becoming available). I tested the prototype SF2 and FDV's before they went to production along with swapping out the P-Tone, FD3-A and FD3-N pickups on my basses. Interestingly the 'All On' and 'Middle Only' selections came from my own configurations and recordings! Sheldon really liked them! I also rewired coils for parallel and series winding to see what I liked best and, for the most part, option paralysis started taking over, or, some configuration changes were so subtle it wasn't worth it. As mentioned above, I think the selections Dingwall have come up with are tried and tested and the best of the bunch. My own favourite settings were: All three pickups, series wound and in series with each other. BONKERS! I think that was using the SF2 and ran in to a Glockenklang 3 band with the mids slightly attenuated. Absolutely monsterous sound! P-Tone (series coils by default) in parallel with Middle and Bridge wired in series (series coils). Again the Glock preamplifer was necessary to offer impedance buffering as well as keeping those mids under control.