NancyJohnson

I'm rotating a couple of artists. #1 Bobbie Dazzle (kind of homage to 70s Glam Rock; it kind of reminds me of The Darkness crossed with The Time Warp) and #2 Rosalie Cunningham (which is just interestingly different...lots of decent time/key changes).

I'm not saying the whole set up didn't work or anything, this was more a case of there being no fixed settings that worked out of the box every time. Back then I was running Ashdown kit, then Hartke when I had my endorsement with them. In general, I'd route the high frequencies through the BDDI and then into a 2x10", the lows into a VTBassDI and into either a 4x10" or 1x15". All the cabs had HF horns; I'd turn these off for the low frequency signal. Arguably, things got a bit more gnarly when (and I'd forgotten about this) when the highs went through a Tech21 GT2 and the BDDI handled the lows. I wish there'd have been (no pun intended) some crossover in the ownership of the Waterstone and the DP-3X pedal...this should have been the dream setup!

I've got a fairly basic 5.1 system (not Atmos) and a Blu-ray player and the Steven Wilson stuff I've got in the surround (primarily XTC, Tears For Fears and his solo work) is stunning. I tend to rip the discs to MKV and stream from a NAS. Got to say I was a bit surprised with Wilson getting involved with Kiss/Destroyer, it's an album I like a lot, but equally unsurprised that the band went the $$ route and only included it in the Super-Deluxe version.

I did some experimenting with a crossover when I had my Waterstones 12 string; my experience? There's no ideal/set crossover setting. My signal path was bass > crossover > processing (Sansamp BDDI (highs) and VTBASS (lows)) > each side of a stereo Poweramp > cabs. Dependent on my desired settings on the Sansamps determined what I wanted to squirt into them via the crossover. It became fast apparent that there was no fixed setting or sweet spot; tonal characteristics changed constantly. The room, cabinets.

Can I ask a question on rewinding, what is the actual point? If you simply like what it sounded like, replace it with a like for like unit, if you like the way the pickup looks (patina) then replace it with a like for like unit and swap the cover. While I'm of the belief that all pickups sound more or less the same, any of the tonal nuances that you believe were there from the original unit, rewinding will effectively remove those; you're effectively creating a new pickup. I suppose £50 is a decent price to save a bit of hardware like a pickup, but you could have picked up a like for like replacement for a tenner more.

Evening. Anyone got this? Thanks.

Generally favour Elixir Nanoweb strings; they last forever and are tonally consistent. It's just simpler to stick with one brand I'm happy with across everything rather than trying to keeping a spreadsheet going. This isn't to say there may be a rogue set of Dunlop or D'addario loitering in there.

Perusing Thomann, cheapest bass neck is £168 (Allparts)...for £190.00 I could buy a HB Jazz and butcher reshape the headstock.

Like the question header says! I do love my old Aria Primary, but I think I'd like it more if the board was rosewood(y) or blocked rosewood(y).

We just need to take it for granted that Gibson haven't been particularly concerned about faithful(ish) reissues unless they're Les Paul or SG models. Suppose we can also apply this analogy to the business by and large ignoring what people are actually asking for as well.

Suspect the point of the original post was that (despite them having a thousand basses in stock), that there is an awful lot of product that's available to ship within a few days - be this basses, guitars, brass, whatever - rather than it being able to be shipped same day. From personal a perspective, I'm fairly picky in what I want to use, so would probably struggle to find any more than two or three basses that I would want to own from whatever they carry from their current level of inventory.

https://www.facebook.com/share/p/cFNMzCyYypa9NAmq/

Just a heads up. Facebook marketplace. Colchester. £900 (or offers)...Babicz bridge too! Cheaper than the current Epiphones!

I'm uncertain what sort of payment terms suppliers offer businesses like Thomann (or what their markup would be), but with logistics being as they are nowadays it does make more monetary sense to take an order from a customer, buy-in the part/instrument from the European distribution company and then ship from Thomann, even if it adds a few extra days on the delivery. I'm sure some suppliers can facilitate deliveries direct to customers, obviating any necessity for Thomann to even touch the stock it's selling.

Just for you 💕

Perhaps I should approach the good people at Aria Pro II to build a 1978 Signature Primary Bass, but god knows how they'd replicate it for the masses. It's got a decent backstory; Friday night Gumtree purchase as part of a job lot (£50!), Schaller machines, but everything else was missing bits/broken. It took a few days to straighten the neck (truss rod wasn't under any tension). Put a Delano pickup in, new loom, Hipshot Kickass bridge, Straploks. Every time it goes out, I ensure it gets a fresh ding. It's a workhorse.

Subscribe to the Matt Horn channel on YouTube. He's the drum tech for Falling In Reverse. It's all bodycam footage; covers everything from getting up to going to bed. Very watchable.

I bought one. I just wanted to see how much I could actually read given the gnarly and indistinct grammar and syntax he generally uses. It was unreadable. To rehash one of Eric Morecambe's more memorable lines, '(Mr Philips) uses all the right words, though not necessarily in the right order.'

My fundamental issue with every facet of replacement parts (be it pickups or bridges or machines or, or, or) is that they're merely one element in a chain of events that involves the transference of the sound emanating from your fingertips through to the air that hits your eardrum. I would wager that pretty much any (working) bass, that's been similarly set up and is playable, would be more or less unrecognisable tonally from another, be it an old Russian monstrosity through to a £10k Fodera. Seriously. We've proven this already.

As the components of any pickup are pretty much magnets, copper wire and (if potted) wax, the only variants are going to be under/overwinding or different magnetic materials (iron/neodymium). Fundamentally the core materials/process is in general, more or less the same. If you consider this, then the fundamentals of pickup design/manufacturing are pretty much set in stone; I owned a Rickenbacker 400* for a while, the quintessential Rick tone was there, but I'd wager that part of this tone was to do with caps and pots along with my desire/belief to sound Rickenbackeresque. It was arguably cheaper to achieve this by integrating outboard processing rather than swapping pickups every five minutes! I simply don't buy into the claims that pickups sound inherently different from each other, irrespective of claims otherwise. I know what I want to sound like and can achieve that (more or less) off a BDDI.

Oh, and the new Tears For Fears live album (which has also arrived on Blu-ray/5.1).

Interesting day of re-releases today. While I'm not really a Green Day fan, I've been spinning the American Idiot deluxe thing today in the background. Currently going through the Queen 1 Collector's Edition deluxe set, which extends to 63 tracks (which in the actual box extends to six discs)...I'm on track 30 at the moment. Also enjoying the new Momma single; if you like Veruca Salt and Smashing Pumpkins, then this should be right up your alley:

Gadzooks! Here we go. IME (quite a bit), there's no such thing as dirty sounding units, per se; sure there are pickups that have their own individual characteristics (Rickenbacker units, Mudbuckers and - by default rather than design - vintage/60s Thunderbird units, which were lap steel surplus units) and those that arguably have a hotter output, but by and large in reality they're all pretty much the same. If you're looking for dirt, best practice is to add something into your signal chain!

I'll admit I've never truly been 100% happy with stock amps giving me the tone I truly desire and I thought the Darkglass AO900 was going to be a one box solution, but it's too aggressive and totally the drive element is different to what I'm looking for. I've run various pre > Poweramp setups over the years, so (for now) this is my desired route (again) albeit in a smaller box. I was toying with the 1000w version, but that would have been a bit of a vanity purchase, headroom aside, I don't need that amount of power; I've never taken the Darkglass over 40%!

Just ordered the 600w version. Wife chipping in so it'll form part of my birthday stuff, so I won't actually get my hands on it for five weeks.