krispn

So I think a lot of us are into Origin Effects and the fine compressors they have been making over the last few years. As many may also be aware they're planning on putting out an overdrive pedal soon..... AlI know is that it will have a clean blend (that's all Origin are willing to disclose at this stage) but are there any more details out there about this one that I may have missed? I'd guess it's gonna use the 'Compact Series' enclosure but as we have seen they can cram alot into those wee boxes and offer up to 6 knobs of control. They don't strike me as a company who would make it with the attitude 'more knobs is more better' but it's interesting to see what they'll do in terms of type of drive or if this could be a series i.e. Klon type pedal, TS808 type pedal, clipping options etc. Hopefully we'll get to see it at the Summer NAMM?

I've got to learn this for an upcoming gig so if you have the dots or tab that'd be appreciated. I'm only really beginning to learn to read dots but thought it would be a good lesson for me. Ideally if you have both.....oh yeah then I have to transpose it to another key as the band want to do it in D 😀

[quote name='timmo' timestamp='1491994275' post='3276998'] Am I getting diatonic intervals and chromatic intervals mixed up? [/quote] Chromatic intervals are moving up by a minor second each time, a minor 2nd being a semi tone above the original note or as we 'fretted' instrument players see it one fret. So a C chromatic scale would read C-C#-D-D#-E-F....all the way back up to C one fret at a time. A diatonic scale contains two half-step intervals, and the rest are whole-step intervals. So a C Diatonic scale would read C-D-E-F-G-A-B-C with the two half steps occurring between E-F and B-C. Although this is a C major scale 'diatonic' does not always mean a major scale. Theres probably a lot more to it but at my basic level of understanding music theory this is how I learned it.

Ariane Cap's book just landed through my door and I'm looking forward to getting stuck in this coming week on night shift. She has a wall chart due out soon with a lot of the main theory points set out. I'm keen to increase my knowledge and this book appeals as it's written using theory, useful fretboard 'box' diagrams and from a bassist perspective. I only just realised the circle of 4th/5th correspond to the bass strings (I've a 5 string)yet I've know that it's tuned to 4th's just never thought to apply it. What a fool! Wall chart link! https://arisbassblog.com/wp-content/uploads/2017/04/17553662_10154978685176125_7416220937550081880_n.jpg

I'd have to agree with this guy! It's a superb instrument and it's hard to better it. I have a fender p bass too and I do use it exclusively in one of my bands but that P5 man! [quote name='therealting' timestamp='1491029140' post='3269901'] I feel like my Super P5 is the bass that I've always wanted (and my Super J5 is no slouch either). I've got some really nice other boutique and vintage stuff, but the Super P5 is flawless to me and I can't see myself ever parting with it. That sort of feeling is probably why few Dingwalls seem to come up. [/quote]

[quote name='Rumple' timestamp='1491390972' post='3272611'] I've just picked one up from the For Sale section on here, it arrives today Out of interest do you run yours at 24v? Sorry for slightly hijacking the OP's thread. [/quote] Mine runs at 24v internally from a 9v supply plus it's a limited edition so has the gain toggle switch on a dedicated foot switch. I think I can adjust the high gain output on an internal trimmer too. In another quirk the pedal was 'missed' from the Peach Guitars order list so once the original owner was told that they 'forgot to build his pedal' the guys at Hudson basically asked him to 'custom design' his pedal so he went for an all black case with the silver skirted knobs. My Broadcast looks more like the Overdrive 999 but with the Broadcast innards. I've not had much time with this pedal as I was off on holiday two days after getting it but will be giving it plenty of abuse upon my return. First thing will be adding rounds to the p bass to hear the differences. I can say I think it's gonna be an always on pedal for me. I'd be keen to hear your views too. Maybe we need a new thread for this little box of magic?

[quote name='Rumple' timestamp='1491205355' post='3271112'] That sounds rather nice [/quote] It plays rather nice too. You can set the low gain channel to respond very well to playing dynamics. Once I get back home I'm gonna put rounds on my p bass and hear what it does. Good things I'd imagine.

Broadcast link https://m.youtube.com/watch?v=r7_yGtYGU7w

FEA Labs Photon Fuzz has an up octave that can be blended in on top of driven/Fuzz tone. It might not be the sound you're looking for but it's an option on top of the massive tones the PF can achieve There may be one for sale in the effects section 😉

UK based Hudson electronics have the Broadcast "The Broadcast is a transformer coupled, discret Class-A germanium pre-amplifier based on the classic broadcast consoles of the 1960s. In the low-gain setting, the Broadcast can cover everything from sparkling clean boost through to transparent overdrive, all with a healthy dose of volume available to push your amp." Search you tube and there's Eli jack Cassidy (I'm presuming) with flats being demo'd Low gain sounds good!! I find myself in the same boat looking for just the right type of low gain with flats. The Broadcast sounds good to my ear in low gain mode

Aww FFS! I know Fender get a lot of sh*t for not doing different designs and then they do this. Fender just keep punting out P and J basses. Terrible!

Good to hear you've got it set up to suit your needs. I love the sound TK got on those recordings. Big fat tone!