NancyJohnson

@Al Krow If there's one track that is my tone, it's this: https://soundcloud.com/1-alex-love/counting-sheep-lizard-sweets Not a chance with the Darkglass.

Because of, well everything, I've only actually used it in anger two or three times. For home use, I tend to just plug a Tech21 dUg into the effects return. I jammed with it in Brighton about 18 months ago and pushed it through an Ampeg 8x10 - honestly couldn't tell you what settings I was using and was eventually told it was 'too fuzzy' so I went with the dUg again and rolled back the chunk. Gigged it a few days later and did the same. When you watch these guys on YT grinding their way through songs while playing Dingwalls, I'll say one thing, I've never been able to achieve similar tones through a cab, irrespective of the basses I'm using (Hamers/Lulls/Spector/whatever). Via headphones and the cab emulation switches, then it's closer, but not close enough. Don't get me wrong, I can't fault how loud these units go, but I am finding it somewhat difficult to dial in the tone that I want, which is kind of dUg/Geddy/Burnel dirty clank, hence my fallback position to the dUg. I recorded all of the Lizard Sweets stuff either through the dUg or a BDDI (I think I shared some early mixes with you offline). I know a bit of the tonal effect is understandably lost on the mix, but the DG was just unusable for recording. Both these tracks were done on the Lull five string, through the dUg. https://soundcloud.com/1-alex-love/basslines-in-my-mind-lizard-sweets https://soundcloud.com/1-alex-love/images-by-lizard-sweets If anyone from @Tech21NYC is reading this, they REALLY need to think about putting out a Class D head with a dUg (or a Geddy) build in; presently Darkglass have to be cleaning up amonget rock/metal bass players.

I have a Darkglass Alpha/Omega 900 head and a Darkglass 112 (500w/8ohms). The head has a 2/4 ohm switch (currently run it on the 4 ohm setting) and it has two Speakon speaker outputs. For the sake of safety ('Just in case' syndrome), I'm thinking about adding a second 1x12 or (when Darkglass pull their finger out) a 1x15 (which hinted at seems to be in the same width enclosure). I'm assuming the 1x15 will also be 8ohm. So, the age old question. Do I daisychain the cabinets (which will give a 4ohm load) or just plug each into their own output on the amp? No idea whether the head sorts this all out interally. What will be the loudest?

Just spent a few minutes comparing. Let's just say it's Musicvox-esque. I think I'm asking myself whether someone in China would even bother doing a knockoff of one. Bridge is all wrong, pickups look too big.

Well, I'm assuming it's a Musicvox...why anyone would want to copy one is beyond me. https://www.ebay.co.uk/itm/12-String-Bass-Guitar-Body-And-Neck-Project-/384000704676?_trksid=p2349624.m46890.l49292

This morning I'm on the highly underrated Wildhearts/3 Colours Red wannabees, Baby Chaos/Deckard.

I've experienced this with a handful of basses over the years; an inconsistent rattling from an undetermined area of the bass and in general the noise only happens when you play one particular note. It's a resonance frequency issue (like when crockery rattles when your TV makes a certain sound). It's nothing to do with how short you cut strings, break angles, loose truss rods or rattling frets. The most obvious loose part will be the springs on the bridge - which in general are the only things loose enough to rattle - just put a finger on the springs to test that. (Remember that it's not necessarily going to be the A string spring if you play the A string; it could be any spring/any string.) Elsewhere, make sure everything is locked down tight, saddle grub screws, machine heads securely screwed in, bolts tight on the front of the tuners and if your tuners have changeable leafs, make sure they're firmly attached (and the nylon washers are intact). Unlikely cause (but worth checking) might be in the control cavity, but shielded wires/batteries do not have the capacity to rattle. My old Aria rattled like b*ggery, during one upgrade, I swapped out the BBOT bridge and that solved it, despite doing the spring test. Perhaps it was a combination of things.

We always use something called a pancake filter/VST. It's a multiband compression plugin, just phattens up the voice and gives it a bit of grit.

My GAS-o-Meter is running on fumes at the moment and as I have no real desire to return to a proper band/live work, I see no reason for that to change; studio/recording, yes, band, no. I'm down to six really decent basses and backline/outboard that will see me prepared should I change my mind at any point, although the more I affirm this, the more my mind is set. Any purchases will just be for the sake of vanity/curiosity more than anything else.

As posted elsewhere, I used Adobe Audition for donkey's years...it was fairly easy to use, but I soon found that I needed to formulate workarounds to make it do what I wanted. I migrated to Cakewalk last year; the package is free and I have little need/desire to pay for anything they offer (Sonor/Rapture/Dimension). It does everything I'll ever need it to do.

The producer must have taken the files down. I'll update when I have a new one.

Morning bonny lads...need a bit of help. My band have recorded about 40 songs which are in mastering at the moment - we're pushing this up to Spotify etc as three albums, rather than going Sandanista! on yo'asses. We've recorded this remotely, singer down on the coast near Littlehampton, me and the guitarist/producer live about five miles from each other and are recording in spare rooms. We've kind of hit a wall with mastering, guitarist is obsessing with an odd few db here and there and all of us pitching is with stuff (strangely enough, I've not asked for the bass to be louder anywhere). I'd be grateful if (should you have a minute or 120) if you could dip into the Dropbox link below and have a listen to the files LS1/LS2/LS3 Tracks in Sequence (these are all single track MP3s containing 12-13 songs each, each one is about 40 minutes long) and tell me how you think they sound; they're 320KBPS MP3s, so comparable with what you'd get on Spotify/Apple/Amazon. If you want to do a bit of a comparison, there's a further file 'LS1 First 4 Tracks Mastered' that is the first four tracks of the Tracks In Sequence file remastered down a few db. Be brutal. https://www.dropbox.com/sh/2c2m8jd6tf5imxt/AABWyNBPTfT8bsdBsPDMt_JQa/NEW_MIXES?dl=0&lst=&subfolder_nav_tracking=1 @hiram.k.hackenbacker @Al Krow and @Wolverinebass have been helpful previously, so just tagging them here. Thanks

If nothing, this demonstrates you can't shake off your internet past. I suspect that in 100 years time (if we're not all dead from something else), there'll be an old clunky server still squirting out ones and zeros containing data from now.

Just did a little tweaking (yes, I know I should be working); it's amazing how sensitive these are. Just dropped the bridge unit a couple of mm and the results are stunning. The bridge unit seems very hot compared to the nexk pickup and these are very phat/thin unit.

I just checked the OPs profile. He's not visited BC since 2009. Clearly, Hope Remains Lost made it huge and @hrl_damo is living off his royalties in some beach fronted property in California.

Ken Haas offered me an artist endorsement a few years ago; I was in love with Thundergun basses, just needed a backup to my Thunderbirds and something I could be a bit carefree with. They were rare over here...contacted Reverend direct.

I was using Adobe Audition for years; the only thing that forced the change was a new audio interface that just didn't work with Audition. I'm glad I moved to Cakewalk, it's free (yay!) and does a ton more than Audition ever did - as my recording prowess increased it was very much a case of formulating workarounds to achieve what I wanted; the only problem with moving DAW is this constant thing of having to unlearn how you've done stuff previously!

Pictures speak a thousand words.

IF you're familiar with recording to a PC (ie plugging your bass into an audio interface), it's a piece of cake. Cassette deck > Audio Interface > PC. I tend to use Cakewalk (it's free), but any DAW will do the job. You'll need to get RCA/Phono to 1/4" jack cables to connect the cassette recorder to the audio interface. Just point your DAW to the audio interface and arm two tracks to pick up the mono left and mono right inputs, hit play on the cassette deck to determine input gain, adjust until you're happy and then hit play on the cassette deck and record on the DAW. To be honest, it's probably simpler to just let your cassettes run for the full side length (30/45 minutes), mix those to your requirements and then break up/split the recordings into single tracks thereafter.

I've never been a big Fender fan guitarwise, but the prospect of customising a Telemaster body, for a single humbucker and a volume control, just makes me go wobbly. Left handed neck on it, yummy. Might be a project for next winter.

KT Tunstall. Only know a couple of early songs and well, it's just nice quiet Sunday afternoon stuff. Funny...as I was writing this it got unnecessarily sweary. Shame.

Check out Matrix poweramps; lightweight, loads of power/headroom. A workhorse! I ran a 4U rack for a long time, a 2U Matrix GTX series (I think they've done facelift models recently), plus a rack tuner and a variety of Sansamp units. It was just as happy working off the Sansamp or a floorboard (which was wired for a dual channel setup). Would generally run it bridged (into one cab), but it was equally adept at operating on a dual channel set up (twin cabinets).

My Vitriol today. They should have been massive.

Nah...i lasted about 30 seconds. I'm still holding a massive grudge about him working with NIN.

I recently acquired a set of Geezer Butler EMGs from @doc40hz of this parish, with the intended recipient bass being my newly acquired Hamer Cruisebass. The Cruise was still fitted with the 80s DiMarzios and two of the three Hamer stamped pots; clearly someone had been in the body cavity at some point as there was evidence the tone pot had been replaced. Half of my basses are active, either from stock or John East and I just fancied to keep the Hamer passive, but didn't really like the DiMarzios...they just seemed to toppy and shrill. Installation was easy enough. The J-unit dropped in without issue, but the P-unit was too deep for the existing cavity - the push-fit connectors cause the pickup depth to extend 2-3mm outside of the casing, so chisels out. Took the opportunity to shield the cavity. Connection was simple, fun in fact. I took the opportunity to replace the barrel jack as well (the old one was very noisy). Tone. Aah, subjective I know, but mother of god; while I tend to generally play with everything full on, here I doubt that will be the case. I've tried this with the DG A/O head and the dUg stompbox...the P-unit is off the scale tonally; phat and beautiful...the bridge pickup is more complimentary; toppy and there to roll the volume up to achieve the right amount of clank to sit behind the P-unit. Damn, these are awesome pickups. The only negative thing is the Hamer's body rout mean from a visual aesthetic, the strings don't sit plumb centre of the poles, but I doubt this has any issue other than the visuals (I can always break out a Sharpie if it annoys me!). 5/5