bloke_zero

Ash is a knowledgeable and pleasant person to do business with - I bought an KARP Odyssey from him and it arrived in bomb proof packing exactly as described. Thanks!

That works - match it to the length between the screws or a little shorter. You're looking for a good stable base allowing you to get the slight angle to match the fingerboard radius and keep them level on the bridge/neck axis (if you see what I mean) as you don't want them dipping or pointing towards the bridge or neck. It's very easy, just takes a bit of patience.

Ack! Sorry - when I bought mine it was B-stock at £300

I put one in. It was pretty simple screwdriver job. You're right - you must get the right model!

I prefer that - feels like you get a more open tone

I bought the cheapest one I could get at the time, B-stock 'Arrow' - looking at their new range 'Volt' I don't *think* that does - though it has a compressor emulation. So it's the 'Apollo' range that do hosted plug-ins. Overall I'm really pleased with it. It's very limited audio in out (basically stereo), but has impedance matching and a really nice quality of preamp and D/A. I don't feel that I must go into a studio to get a good signal in.

UAD interfaces have a slot for a very low latency plug in (the interface also acts as the plugin host so you're in their world) . You could put anything in there including EQ.

Plus one from me for these - lovely middy 70's tone. But still very clear and articulate.

It has 100% more knobs?

I was doing this yesterday and was wondering if the pickup orientation was important? The diagrams all show the same orientation by which I mean which part does EA and DG and which way around they are. Anyone know?

Shout out for Watford Valves - been using them for years.

I've not played one, but followed along some build threads. Irrespective of the body shapes it seems they are using CNC to take a step beyond recreating the Fenders of the 50's and 60's and adding some refinements that I'd have thought would substantially improve/change/modernise (pick your adjective) the sound - just tweaking the neck socket and neck body connection can have a big effect on the sound.

Yeah, I always found that weird at Wunjo - they would throw in a set up AFTER you bought it. I'd have thought it would just make sense to set it up first then you'd be more likely to want to buy it in the first place! Just to do the basics feels like a 15 minute job tops to set the action and intonation and that is me doing it on the kitchen table, let alone in a proper work shop.

Good suggestions - I can hear "I wish" working. The Rick James too - did you ever see the tales from the tour bus series? The Rick James episode is one of the saddest things at the end:

Trev!

Watched that video! Been there! Did this... (takes about a minute for the 303 to come in - pretty self indulgent!)

You get up to 16 divisions per bar, so although in theory you could but you would then restrict yourself to crotchets. The options you get are: 16 slots that can contain note start/note continues or rest per slot (you can shorten the length and also get 3/4 with the first 12 slots) Note pitch Note length (Note pitch and length set in separate passes so you need to have them written down) Octave up/down Accent Slide Having the note and note length separate processes is why you hear so many weird lines - people mash in some random notes then make them all 16ths on the timing pass. It's really awkward unless you have the score in front of you!

I know this is too late, but https://aionfx.com/project/l5-preamp/ moog and Pearce collaboration, precursor to the Pearce

100% - I always thought it was criminal they got 10% of the royalties each as the rhythm section and Morrisey and Marr got the other 80 - they are so much of the sound!

Love it - I was thinking this one. My all time favorite bass line. 8 bars, but maybe I can bend the rules of engagement for this. Larry Graham is my hero! Nice - I like this tune a lot. One of those bass lines that sticks in your head without you realising. Kind of more 2 than 4, but the variations are good. This is one bar, but I see where you are coming from - would totally work on the 303. Solid gold - thanks - I hadn't thought of Bring Down the Birds Pump it up is such a great bass line - too classy for me to be able to program - I might try and learn it IRL though. Boogie Oogie is a contender. Do you know the original? Charles Wright was was Easy E's uncle I think. Those 2 tunes are both in my top 100. "I get straight while I do this/ and mediate like a Buddhist" Unassailable funk! Left field for me - totally fits the rubric - I'll see if I can make it work. Does that count if the last two bars are just two tied semibreves (or a breve, I suppose)? Makes it easier to program! 😛 Thanks for the suggestions - a lot to think on!

Sure thing - I don't really like it either! https://www.dropbox.com/s/u75zod1zry7gxlk/good_times.mov?dl=0 https://www.dropbox.com/s/gumuu1rjyukqfk8/come_down.mov?dl=0 I tried them in FF and they didn't work but did work in Chrome and Safari

I'm doing a weird project where I'm transcribing, or taking transcriptions of classic bass lines and programming them into a TB-303. For those who don't know, a 303 is the classic acid house synth of the 90's, but was created in 1982 as a bass accompaniment, like the old rythym machines, but for you to program a bass line in and play along. So I'm taking it back to it's original use case. So far I have "Good Times", "For the love of money" and "Come Down" by Anderson .Paak. I was wondering what anyone else might suggest? The criteria is: Stone cold classic instantly reconisable (if you know the song) bass line 4 bars (anymore and it's a beast to program into the 303 as you have to brave 'song mode', any fewer and it's less of a challenge) You can see where I'm tending (70's funk and disco & hip-hop), but I'm wondering about more recent lines I've missed. I've got a couple of tentative first passes up on instagram: https://www.instagram.com/reel/CoQA0ZWI7ui/ https://www.instagram.com/tv/Cn9aFtgIWdu/ Thanks for any suggestions!

Being able to blend the 2 channels with full control over the relative volumes makes this one of the most successful dirt machines I've heard for bass. Amazing on synth as well - to be able to EQ each channel and then blend to taste: 1 saturated and round, one edgy and distorted - mmm, makes me want to get up and go to the studio right now!