LawrenceH
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Oops sorry I don't know how that double-posted! Thanks for answering anyway. Edit to add: you may also have posted this already but does 'dx7-compatible' mean it shares the 6-op structure and algorithms? Are the operators sine only?
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I'm assuming not, but is the FM synth voice stackable with the virtual analogue one, if not is this something that is technically feasible in future?
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I'm assuming not, but is the FM synth voice stackable with the virtual analogue one, if not is this something that is technically feasible in future?
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I'm not one for hyperbole (he lied, I totally am), but those are SO GOOD!! The DX7 voices are like nothing I've ever heard from a bass synth. AWESOME work Peter, you've basically ticked off all my wishlist for a bass monosynth, I raise my hat to you and the team! Can't wait to try it. And then annoy the absolute snot out of my bandmates with it at every opportunity. Out of interest, the video mentions 'improved tracking' in passing. Is that compared to the current firmware or just to V3?
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I second this. Just screw a batten or similar across the back and screw the cutout bit of ply to that.
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Well I have my ideas, will wait to see what's revealed! But I'd have thought now is the time to do said reveal, what with the publicity/interest associated with NAMM.
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Wait so 'the big thing' isn't any of those big things?! Intriguing...
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Excellent! I know it had been mentioned as coming, but at this end no idea about how they manage release schedules of various features.
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Exciting stuff, I'm looking forward to the release! Crossing fingers that portamento on tracked notes made it into this one. Pleased so many of our suggestions on patches are on those lists - even though they're often variations on a theme from a synthesist's perspective, from a practical POV they cover a lot of useful ground.
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Excellent! But what occupies the coveted number 1 slots?
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Not the 70s version! The one with threaded saddles is the 58 I think.
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In fairness a replacement Fender Pure Vintage 70s bbot is £50+ (I discovered much to my annoyance when wanting to restore a 70s reissue to stock). Think this is stainless steel which given the corrosion on a few old bbot I've got isn't a bad idea, and probably it's a bit more rigid. Anyway it has a certain look to it and really we all know aesthetics matter!
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I have this on a Jap 75RI and it's a good bridge - the grooves, unobtrusive size and string-through option make it versatile, ergonomic and solid. I did feel it tightened up the sound a little, sort of halfway to the real effect a high mass bridge has without the high mass. One thing that might be helpful: this deluxe bridge weighs 106g including screws. By comparison, the Fender hi-mass bridge I have on another bass, while also a good design, weighs close to 250g (238 without screws). Of course heavy is good in some scenarios (neck dive) and not in others (boat anchor), but maybe worth knowing!
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Working through the ABRSM piano grades
LawrenceH replied to bass_dinger's topic in Other Instruments
I agree with @Hellzero it's a good idea to do at least one classical piece. Even though they're only grade 3, there's a lot to unpick in these pieces - they've stood the test of time for good reason! Avoiding classical stuff entirely now leaves holes in fundamental piano technique and musical understanding that will be harder to fill later. Having said that, the Muppet Show Theme is also very good for chord theory/harmony and counterpoint, so that should stay! -
Raising a speaker creates position-dependent dips in the frequency response where the reflected wave at a given frequency combines out of phase with the direct wave at your ears. Walls and ceilings also do this. Hence in-room response measurements can be pretty crazy. But it has the advantage that it puts the mids/highs a lot closer to your ear! Sometimes that matters a lot more in practice. It depends if you want more note clarity (raise it up) or girthy bass (shove it on the floor next to the wall if not in a corner)
