NancyJohnson

I've had a fairly decent noodle on the AO900 over the last couple of days and it sounds pretty nice in isolation, but I was working on some new LS stuff and thought, well rather just try and record, I'll play along with the stuff that's been sent over, but it's been a real struggle. It's pretty easy to dial in a grindy tone, power/dirt, but the dUg just sounds so much better to my ears, so for now, I'm back to the dUg into the effects return. Come on @Tech21NYC give us a nice loud dUg (or Ged) in a VTBASS 500 size box. You know you can do it.

Nine Inch Nails. Got a mundane afternoon ahead; Pretty Hate Machine (remaster) up first, then I'll go Fragile/Deviations.

You paid £311 for that and you don't know what it is?

Distortion off?

While my IT guys were updating my laptop earlier, I decided to spend a bit of time getting a usable tone out of the AO900. So for the benefit of @Al Krow and @Cuzzie here's the settings for what I'd consider to be a lively tone (whumpy bottom, lowish/scooped mids and a bit of a gritty/gnarly top end. I was using my Hamer Cruisebass (passive/Gezzer Butler PJs, everything full-on). Amp is set for passive input, growl off, distortion and bite both engaged. This is running through a DG 1x12 with the horn at the midway position. I prefer the Alpha side over the Omega Phuzz, the Comp light flickers intermittently (which equates to it working at optimum level. I don't use the footswitch, never have. Thing is, this is fine for the Hamer, but when I plug in the Lulls or the Spector, it simply won't be the case of just disengaging the passive/active circuit, it'll be more a case of starting over from scratch again, and it'll be different again if I went live with it or through different cabs. [Edit] I just spent a bit of time and got a usable clean tone and then dialled in the dirt/blend. That said, if I was using the dUg, I'd just plug in and any setting sounds good, to be honest. The DG is just more work.

I've seen this one previously. I think the main issue here is that the head hasn't seen much activity (despite tenure of ownership) so I've yet to dial in what I need. What I do know though is that aside from the VT Bass (I've owned both rack and DI box) and the failed GL rack unit, @Tech21NYC kit just works right out of the box for me.

When my mum passed away I bought a Spector Euro LT with a little of the money left to me in the estate. She was always supportive in my musical ventures, so it seemed fitting. Again, while it's all subjective, it plays nicely, does what I want sonically. This is giving me more pleasure than an old 60s Fender ever would.

No. Like the Banksy thread demonstrates; ownership is about vanity, price paid, basking in the glory, bragging rights. It does make me chuckle when people are looking for a year of birth bass; honestly, what is the actual point of that? Vintage instruments aren't going to make you play better but they might make you feel better about yourself. Will anyone really care you're playing a 60s or 70s bass? Nope. Will anyone be able to hear the difference? Almost certainly, no.

She comes free with it, by all accounts.

*and several pounds weight. Right. Where's my corkscrew?

Let's nip things in the bud here! I don't want to go back to a full rack again. No point. Did I mention I had an MRI on my back three weeks ago and I have a touch of arthritis in L1-4 vertebrae? While the dUg amp is/was tempting, it cost a fortune, so while the AO900+dUg combination is a little less easy on the eye than the racked dUg, I'm still £600-ish in on the deal. I do think it would be dreamy if @Tech21NYC (I'm gonna keep tagging them and I'm half a bottle of a delightful red in on an empty stomach, so blurgh) would consider doing a small, loud head with dUg (or GL) built in. The Darkglass is dreamy from a size/weight/output/portability perspective, but right now, it's not doing it for me as a standalone unit. Too many basses, active/passive etc. At some point, I might see if I can emulative the dUg tone and then things will be dreamier. Right. I really need to take my contact lenses out, cook dinner and crack open another bottle. It's Saturday. I've been a good little worker bee (and I deserve a gold star).

Not quite. If @Tech21NYC did decide to go the Class-D/dUg route, then yup. I'd be set for life.

@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.