simwells

[quote name='rapscallion' timestamp='1329477638' post='1542985'] Unfortunately MarkBass aren't so kind as to provide MA draws on their website. I've emailed James and will see what the outcome is[/quote] http://www.demonte.be/handleiding/Markbass%20Distorsore-1297197277.pdf 2nd to last page, it is 600Ma

[quote name='pantherairsoft' timestamp='1329471634' post='1542855'] The MB pedals have a massive power draw and won't work correctly if they receive 9v. I'm not sure about the distortion, but the super synth needed 600Mah!! I tried a few high current adapters, some wouldn't work with the pedal at all, others worked, but it died after 10 minutes. In the end I spoke to Dan & TheGigRig who modded one of his SupaNova adapters (wired 2 together) to give it oodles of power on tap and that worked fine. I no longer use the Super Synth, but still have the adapter, so if the Distortion has similar power requirements and the guys at Diago can't help, let me know. [/quote] I've been looking into getting a gigrig soon and would need to power my SS so if the OP isn't interested Shep I probably would be.

Fairly heavily modified Rickenbacker 4001

I wouldn't say weight itself affects tone but the density of the wood does and this will of course affect the weight. Personally my favourite bass for playing is my T40 which is definitely heavy compared to any other bass I've ever really played other than big ERBs but it cuts through the mix like no other bass I've owned has.

It does seem to be somewhere close to 30 years but 80s ones in ten years I wouldn't expect to be worth the same as 70s now unless they're a particularly rare model. Price tends to be based more upon rarity than the age itself and Fender gradually produced more and more instruments. I wouldn't expect current production basses to be worth much for more like 50.

I have a couple of boxes I've received basses in, one that's perfect size for a bass and another that my twin neck came in, but would with extra packaging or cutting down suit a bass. I have no room for them so they either go on here or the tip. In fairly central Sheffield.

The issuse is that much as rock school is obviously still the relevant grade it is stated to be, if you're used to hearing pieces from other awards bodies then their pieces will tend to seem to be more straight forward to play.

Not NW but Monster Press are one of the best UK based screen printers. http://monsterpress.co.uk/home

[quote name='dlloyd' timestamp='1328609548' post='1529765'] Grade 8 under what awards body? I sat gradings (not on bass) under the ABRSM a good few years back and would put most of those pieces at grade 5 or 6 in terms of difficulty/technicality under their standards. But then, listening to some of the "Rock School" grade 8 pieces, you may be in the right ballpark. [/quote] I would agree that this makes a big difference, in my experience rock school are substantially easier than most comparable awards bodies. I guess I'd probably base it on the sort of music school and if they are likely to be more classically focused etc.

[quote name='AttitudeCastle' timestamp='1328561215' post='1529198'] Could you link me to any of this stuff, or find anything similar online? I guess i truely am ignorant to the matter! As my understanding, coming from my understanding of physics, is that the pickups as simply a magnetic coil with an induced EMF and AC current forming the output. So the string will vibrate at that frequency (say for a low F# ~23Hz). So the string is vibrating at that frequency and the pickup (for lack of a better word, even though this might make it sound like something else) 'recognises' that, but the constraints lie with both Amplification and the fact humans can't hear that low. As as far as i know, apart from harmonics/subharmonics, the only way for A Low B for example, to be heard is for it the string to vibrate at that frequency and because of the nature of the way magnet and pickup technology is the note can't not(ie it is) be reproduced, though whether it's done so in a way we can hear it depends on many things. ^ Alot of that may seem like waffle, but it make sense in my head! And feel free to rip it to shreads if it's wrong as I'm hear to learn! Sorry if this is going too far from the thread topic! [/quote] Won't rip it to shreds as it's not something I have a massive knowledge of it either! Struggling to find some of the better articles I've read but Mike Tobias mentions it though only briefly in this article when talking about the differences between neck through and bolt on. http://www.mtdbass.com/articles/quest_for_tone.pdf Also the wikipedia article on missing fundamentals talks about it a bit. Main point to note is this "A [url="http://en.wikipedia.org/wiki/Violin"]violin[/url]'s lowest [url="http://www.catgutacoustical.org/research/articles/modetune/modechrt.html"]air and body resonances[/url] generally fall between 250 Hz and 300 Hz. The fundamental frequency of the open [url="http://en.wikipedia.org/wiki/Scientific_pitch_notation"]G3[/url] string is below 200 Hz in modern tunings as well as [url="http://en.wikipedia.org/wiki/Concert_pitch#Pitch_inflation"]most historical tunings[/url], so the lowest notes of a violin have an attenuated fundamental, although listeners seldom notice this." http://en.wikipedia.org/wiki/Missing_fundamental

[quote name='AttitudeCastle' timestamp='1328559098' post='1529159']Pardon my understanding, but i though with ERBs the note IS producded, it's just the fundamental isn't Reproduced by speakers, as they don't go that low, plus what makes the sound we hear comes from Pshyco-acoustics? (I believe there was a Thread about this on here, which is all i really know haha) Upon reflection, if that were true, then it would be exactly the same function and effect as with 5/6strings with the Low B? Kind of thinking out loud (as it were) trying to understand it better![/quote] The note is produced as such but not with the fundamental, everything I've read gives the impression that a lot of basses won't even reproduce the fundamental of a low B (and would need to be a through neck for that anyway). The speakers generally wouldn't produce frequencies lower than that anyway and yes psycho acoustics make it sound as if we are hearing them whether it is lacking because of the speakers or the bass itself. Not entirely sure what you're saying would be the same with the low B, some speakers will handle the fundamental of that frequency.

[quote name='AttitudeCastle' timestamp='1328558060' post='1529127']I understand the Low frequency roll off and it's purpose and effect, but how would it work with ERBs which go lower than the B string? (As i said, not too clued up on all this, but i understand you don't have the time to write a full explaination but a simple (like my knowledge here!) answer would be wonderful!) Also, could you bullet point the differences between the Thumpinator, and the Micro-thumpinator? [Keen to get one you see haha!] [/quote] As Max is a busy man I'll explain what I can for you. ERBs that go lower than a low B won't actually be producing the fundamental of those notes so you won't be able to tell the difference by those frequencies being removed. On the second bit Max explained it better than I will on the previous page.

It will work with 4 strings it's just that the cutoff is just bellow that of a usual ERB, you could tune one that would cut off just below any frequencies you chose so as to remove anything below the fundamentals of whatever instrument. I wouldn't expect the benefits to be as great though as the excursion of speakers shows itself most obviously with the subsonic frequencies.

Almost definite the only difference between the micro and full size is the full size has balanced/unblanced ins and outs rather than just unbalanced.

Could these be run at 12v? Also if so could one be made up centre positive, as I'd run it in my rack and I already have a 12V centre positive supply into it.

Just picked up this bitsa off here, debating if it wants covers on it. One of the basses I've owned that I can't put down the neck is absolutely perfect.

It is just time really, I had quite a break of not playing and came back to it playing three fingered so I think that helped but I wouldn't advise this overall! Now I pretty much only play with three fingers but am completely unaware of what fingers hitting at what point etc I just play and it's what I'm used to so I'd say just play everything you would two fingered with three.

I bought Mel's fretless P bitza, she was very helpful and fast with shipping it out and information etc. Definitely recommend, thanks! Simeon

This is the one that Dave recommends [url="http://www.rapidonline.com/SearchResults.aspx?kw=85-3112"]http://www.rapidonli...aspx?kw=85-3112[/url] My rack unit which is basically two VT1s is running off what looks like a cheap variable one and it seems to handle it well but I have no idea where it's from!