pantherairsoft

I think you are right... I think they would come with a hefty up charge as well, plus the Nordy's aren't really for me. Bart/Bart or Bart/Demeter for a Roscoe. Yum. Decision on the top I finalised. To make sure it wa going to look rocking I printed out each of the 5 options and drew on the pups and bridge to see what detail would likely be obscured. A bit OTT maybe, but it was worth it. In the end this is the selected top for my bass... [IMG]http://i61.photobucket.com/albums/h44/pantherairsoft/Roscoe%20LG%20Signature%20V/af5f0ef2.jpg[/IMG] There will be a matching headstock facing as well. Can't wait to see this taking shape!

Hmmm... I'll stick with everything underfoot

Users of the Hothand can likely add more here, but as I understand it, you can only manipulate one parameter with it? If you wanted with the MP-201, you can manipulate 4 parameters on any unit or combination of units at the same time... So you coul hook it up to the 4 knobs of the Moog LPF and move them all with one foot, all doing different things, or with 4 LFO's or combinations of different t functions. If the Hothand has the capacity to control multiple functions (or multiple Source Audio pedals at once) then that opens more doors. If it can't, I'm sure it will only be a matter or time until it can!

The MP-201 is amazing, if a little complex roger your head around. I have a 'good' understanding, but still stumble across features I never knew were there! Hothand to midi is simple enough as Source Audio make a midi input device. Converting that to CV may be a little tougher. I like the concept of the Hothand and have seen some great results... But it's not for me. I jut don't 'click' with the concept and for what it brings to the table over the MP-201 in the realm of rate flexibility, it looses in its offset and mix/blending abilities, which for me are far more musical. I'm not sure the Moog is higher 'quality', but it does have a VERY rich analog time that I've never heard from anything else. The SA sounds fine as does the Iron Ether, but to my ears, nothing sounds like the Moog LPF. That's it charm I guess and it's got me hooked dammit! The SA stuff though is obviously cheaper and still accessible and will likely be the way most guys go from now in within the genre. Strictly speaking there's a 3rd route as well - Get a synth!

[quote name='lxxwj' timestamp='1327799294' post='1517102'] Ah, those are back in the Whammy DT era! Still, my mind is blown. I think I understand what's going on though.. So the MP-201 can control the rate of the LFO too, with just an LPF? Pssh, weddings. If I ever get married, I'm doing it with a solid bass guitar over my shoulders.. ..wait, smaller? Did I read that right? [/quote] Oh my. It was huge wasn't it. Both those Tourman board now live with the band 'Union Station Massacre', they are a 7 piece with 3 guitars and each guitarist has a Tourman full! Crazy ambient sound scape stuff! As for the LFO. Yes. The out put from each of the 4 channels of the MP-201 can be set to do one of the following using either a 0-5 or a -5 - +5 CV Scale. 1. Expression - swell from and precise point to another. 2. Gate - Footswitch controls an all or nothing CV amount 3. Noise - send white noise the output - some pedals react iterestingly to this 5. Envelope - sends an enveloped waveform to the output per hit of the switch 6. Send Midi CC 7. LFO - Most of the times you see this demo'd it's like in my vid earlier where it controls the LPF but it works with ANY CV based bit of kit. Effectively the MP-201 sends a waveform to whatever you have plugged in that controls the CV voltage of the pedal. A triangle wave for example has the same effect as turning the knob all the way up very quick, then all the way down very quick over and over and over. This can be used on ANY Moogerfooger to to control ANY peramter... Plus other pedals like the WMD range. So an LFO on a phasers sweep would hear the rate of the phaser getting faster then slower then faster then slower. The LFO controlling the frequency of a Ring Mod is insane and totally unusable in a musical setting In LFO mode the expression pedal of the MP-201 can be used to control 1 of 3 perimeters. Rate. Amount. Offset (where the 'centre' of the wave is - so moving it down makes more sub wobbles and going up makes higher tinny wobbles). As the pedal is full programmable you can set the accurate start and send point of a swell, precise clock divisions I it's running off midi clock and wether heel is lower or higher than toe (reverse expression).

Hmmmm. I think the Roscoe/Barts are moulded, so not with that pickup option. Maybe with others. Ramp, quite possibly. But given the pups will be staying black, I'd prefer to go with the black Diamondwood ramp too. If the Buckeye pup covers had been an option, or I could talk myself into different pups, then that might look pretty cool.

Synth wah is an interesting way of looking at it, though most Wah's are band pass (emphasises a specific band of frequencies) rather than low pass (cuts everything above a specific frequnecy and emphasises everything below it). Moving the cutoff by expression with a high resonance will give you a wah like effect. The more complex the signal before it, the more pronounced the effect. At one end you hear only sub and super lows, then as you swell it lets through more and more high frequencies until you have full signal again. You can flavour that with envelope as well. The classic synth swell is, at it's most basic level, the slow turning of an LPF cut off with a range of octave, fuzz and modulation before it. Feeding it with an LFO gives you a tremolo that rapidly goes from sub to fuzz rather than a traditional volume up and down trem. The LPF trem is what gives you the wobble in modern Dubstep music. Please excuse the horrid playing. This was done the day I put my stuff on the custom board just to make sure what I had at the time was patched together etc. It's out of time and all sorts but does demonstrate Octave - Fuzz - Low Pass (controlled by MP-201): http://www.youtube.com/watch?v=5i3aPmQ5OOw&feature=youtube_gdata_player And this one with similar effects using more of the LFO functions: http://www.youtube.com/watch?v=zL95ac_73lE&feature=youtube_gdata_player

Si - behave!! lxxwj - ignore him, he's a penis and he knows it ;-) Actually, if you want to be precise, looking at the placement of the jack sockets on the photo of Johns gear, he is controlling the LPF's cutoff and resonance with the MP-201. I'm actually surprised he doesn't have it connected to the Mix as well as that would allow him to blend wobbles in and out smoothly. I alter the resonance by hand as track to track as its not something I find I need on the fly.

The MP-201 does an awful lot of stuff. John uses it to control his Low pass filter in the same way I do, it allows control of the cutoff in the form of expression pedal swells, but also with CV based LFO's - all the Dubstep wobbles and the control of the depth/rate and intensity of such, as well as blending them in an out is all done by the MP-201. As for phaser after fuzz... That's an awesome combo, but sounds nothing like that Orbit or the Noise box. The orbit is a Gated fuzz, but more aggressive than the mammoth, with a ring mod circuit built in, in the form of a VCO and the ability to blend the mix of both sides of the circuit. The Noisebox has elements of the Orbit, but the VCO has two distinct voices and has a level of frequency modulation and random noise generator. The Noisebox is harder to tame, but has some great results. Both of them sound very different at their extremes. John gets some awesome results from his set up and I consider him and Nerve to be a huge influence. The reason my board is so much bigger is I'm filling the role of the synth player as well as the bassist in that genre of music!

No need to apologise for discussing cool effects based awesomeness!

No battery. 9v only. No guitar/bass option only so the polyphonic mode only works on guitar. Will function in chromatic mode perfectly with a bass though. More discussion here: http://basschat.co.uk/topic/165454-tc-electronic-mini-polytune-at-namm-2012/

[quote name='Darkstrike' timestamp='1327774819' post='1516643'] Agreed, be curious how solid that middle setting is. Buckeye seems to be the priority though, Hipshots are no big deal to swap out later! [/quote] That's a good point. The Hipshot is an easy swap. I think I'm close to a decision on the top. Of the 5 there's 2 that look a little cooler on first impression. One quite butterfly like and another speckled like a peacocks feathers... But after some serious study, the block of pups and ramp would destroy most of what I love about those tops. Simple and cool is the desired effect.

This was covered in another thread a while ago - I think the Drum & Bass/Dubstep thread. The chap that did the interview is in fact a Basschatter. Theres quite a lot of discussion on John's set up, as well as Bond from Miloopa (Another bassist to check out) in that thread if you haven't already...

Been having a look. Must be new, certainly haven't seen them before. Smart idea though! I'd like to try one before I considered it to how definite the latching was between each setting etc. very cool though. My mind is currently preoccupied with Buckeye Tops too though! Lol

[quote name='Darkstrike' timestamp='1327712588' post='1515914'] What about one of them double drop tuners? Get both D and B. [/quote] I didn't know they existed! Lol. I do now....

The plan is B. I only use my Low B in the right musical situation (as I use Octave pedals a lot), but it's nice to know I still have that option. They seem confident it'll still work with nice string tension over the 32" scale as well... If not, I'd be happy to have accurate drop D at the flick of a switch anyway when I get the urge mid-improv to play some Tool licks

5 new Buckeye tops arrived at Roscoe HQ today and I have my pick of the bunch. They are are all STUNNING. I've narrowed it to 2 and will sleep on it over the weekend. Watch this space for my pick of the bunch!

A couple of videos from the weekends gig... Hi-Fi or headphones only - laptop speakers tend not to reproduce the 40hz so well http://youtu.be/jif7E2FKLds And, http://youtu.be/aOApHtg5aCM

[quote name='Gunsfreddy2003' timestamp='1327680299' post='1515321'] Cheers Shep - it is weird though becuase Spencer at 3Leaf tried to emulate the MuTron exactly with the Proton but the GR2 is more popular!! Maybe he did not get as close to the 'Tron as he had hoped? [/quote] It is very close to the MuTron... But I always thought the MuTron was a little weak sounding. The issue you have is that the GR s based on the stripped down core envelope of the Lovetone Meatball - Which is a hugh fat subby envelope. if you put any envelope filter next to Meatball they are going to sound thin, as they do next to the GR. Fact is though, that in some musical situations that tone is harder to cut through and the MuTron rarely struggles to cut through as it has far more mid range, hence the Proton is likely more usable in many band situations. That doesn't stop the GR sounding MASSIVE though After a gated fuzz the GR is THE envelope to use for synth bass stuff IME.

The GR and the Proton are quite different circuits based on different pedals. If i were to put the sounds into words (to my ears), the Proton is a very wet sounding qwacky auto-wah and the GR is a smooth, phat envelope. I LOVE my GR, I have the 1st one, rather than the GR2. I understand that tonally they are the same, but you have the addition of the blend on the GR2 plus some other slight functionality tweaks. If I was playing in a funk band I think I'd get use form the blend, but its little use to me n what I currently do. Either way, they sound AMAZING on bass. The Proton was a little too thin sounding for my tastes, though it is still a very decent filter.

The nearest 'real' specialist who deals directly with Alexander Technique and is recommended by BAPAM is in Loughborough: [url="http://www.bapam.org.uk/practitionerdb/eastmidlands.php#."]http://www.bapam.org...tmidlands.php#.[/url] I'll stick with the free advice that seems to be working though. I've bought a Power Ball as well. As gimmicky as it seems, 5 minutes a day at a slow pace is manageable and seems to be helping.

I was given a form from my GP for self referral in Nottingham. Filled it in and sent it off and they wrote to me with an appointment. When I got there and discussed my issues (no idea of the persons name, it was a kind of 'you'll see one of the team'). they said next time I should bring the bass as they have a chap who's done a lot of work with musicians. I did, and the guy was very helpful - Though I have no idea of his name, (or the lady I saw the 1st time), I just arrived, walked in and straight to business! I can tell he was in his 50's (I'd say), white, with short dark hair. I suppose I should ask his name if I see the same guy next time! lol. I may of generated the term 'specialist' for the guy myself TBH. I'm sure they are all capable of offering the same service, but the lady I saw the 1st time, suggested they made a note I saw a certain chap the next time with my bass... So I have decided that makes him a specialist It was based at the Mary Potter centre on Gregory Blvd. It's free and you do the referral for yourself, but need to get the form from a GP (A GP needs to decide you should go for Physio basically before you go and bother the actual Physio's).

[quote name='Gwilym' timestamp='1327670896' post='1515112'] hey Shep, sorry to hear about your troubles, and I hope this new bass works well for you - it sounds like it's going to be a (little) monster It might also be worth having your bass technique evaluated by an expert (if you haven't already), to fix any "issues" that could also be aggravating your physical problems? Cheers G [/quote] Cheers G. I had a meeting with a specialist Physio and took my bass along on their suggestion. 32" scale was settled on after some careful measurements by said person with me wearing my bass in the playing position. They also suggested, as a number of BCers have mirrored that any technique that involves not anchoring my thumb in the way forward. They also insisted that i play over the neck pup or just behind for minimum pressure on the muscles in that shoulder, which is part of the reason for the ramp - So I can use the same light touch style I use over the pup, behind the pup as well. The line, "I've never seen such a large instrument played by such a small chap" was interesting to say the least I have another Physio session in a fortnight and another Chiroprators appointment next week - I feel like an experiment gone wrong