EBS_freak

Hmm. Maybe I have completely the wrong bloke then... or my memory is completely shot!

I've tried to find a pic of him to confirm it's the same guy. Was a big guy I seem to recall - and I particularly remember him for being the first guy I'd seen to use a Rotovibe live. The bass player - tall skinny guy was defo from PMT. I'm beginning to question my memory whether Dave was... The band also had a percussionist. So they were doubly cool in my book.

There used to be a couple of guys working in PMT in Oxford in a band called Twin Jet Superstar - I remember loving the guitarist's playing. Just been googling and it seems that the fella is called Dave Smart. Seems like he's moved on to pastures new and now has a repair business and got something to do with Oxford Guitar Gallery. There you go. The thread has rekindled some blast from past memories for me!

Ah - I've had an issue with Bax in the past also. Ordered loads of Neutrik sockets and jacks for making up all sorts of cables. They all got there in the end. Eventually. Although I was surprised to get the big cardboard box with just one single female XLR end in....(!)

To be fair, for most people, especially on bass, once you have your killer amp sound, you are unlikely to be changing much. On a gig, I have my core sound - easily tweakable per venue... and then fx in the fx slots. In reality, the tweaking factor is not an issue for me - as I am on IEMs. So any tweaking should be at the PA to account for the room, nothing else. I haven't got a local FRFR that I'm using for monitoring purposes - just front of house.

Love it! back at ya - https://www.audinate.com/sites/default/files/PDF/large-scale-houses-of-worship-avnw-orlando-150616-pres-audinate.pdf EDIT: taken to PM to avoid derailing!

The boss.

I'm not defending them... just commenting to keep things on an equal pivot. The key thing - as you point out - the modellers have patches. If you want to change your sound with a stand alone amp, you are stuck with that one sound. In the case of the modeller, if you were to change the settings for just one amp emulation and not use the other amp emulations, the comparison is more fair.

Just throwing it out there - since Apple iPhone battery gate, are people finding their touch screens on their 5/5s less responsive than they remember them being? Especially in the corners?

In addition to the above, minor will happen as the woods all expand at different rates - even more so if different wood types have been moved. A flatten and polish can hide a multitude of sins.. but wouldn't recommend that for a metallic as I dont know how deep the finish is before the flakes would be exposed. If you aren't happy, send it back - but I wouldn't be surprised if the majority of the basses from Sire show the same... as to get a perfectly flat surface would require a lot of settling time and multiple visits to the sprayshop/polishing shop - something that a manufacturer of a mass produced bass is unlikely to be able to afford to do without impacting the price point. Even on my BBNE2, there was a faint line in the finish where you could see where the through neck was joining to the wings that made up the body.

Me - Have you got a Nighthawk that I could try out? Them - I guess you want some Rotos too? Me - Good point.

@SibobThe pedant in me is saying... get yourself a Dante network and you can have a bazillion (OK I exaggerate) interfaces available to you. Guessing you know this already cos of Rednet.

Do they want to do the gigs and recording for me too?

The changes are basically a shape change in the cases (as the Mk3 was a bit marmite for people - so they refreshed the look of the 7 series) - and a change in the DSP to incorporate the FirPhase technology. The funny thing is, given that its a DSP change, there's no reason why the DSP couldn't be flashed onto a Mk3, given that the hardware doesn't appear to have changed. (I dont think thats going to be a reality any time soon though - they'll point to an upgrade to a Mk4) Excerpt here - RCF has introduced FiRPHASE technology in its DSP processing. FiRPHASE is designed to provide more transparency, clarity, and linearity into the brand’s new speaker products. The first products to receive the new DSP include the HDL6-A and HDL50-A line array systems, TT45-CXA monitor, RCF ART 3 Series, ART 7 Series, and HD Series two-way composite speaker cabinets. Other RCF products with proprietary RDNet control software will be able to be upgraded through firmware updates. Advanced FiR filtering technology has been conceived to deliver transparent sound and enhanced clarity. Transducers are engineered to have a natural characteristic that emit various frequencies in such a way that they are not time-aligned, therefore affecting the purity of sound from the original signal source. The FiRPHASE technology monitors and adjusts these minute delays to provide an end result of 0 degrees linear phase. The algorithm corrects phase and amplitude by taking into account the weak points of the transducers and the resonances or cancellations created by the transducer. The RCF FiRPHASE processing uses impulse response measurements to invert the loudspeaker’s phase without touching the amplitude equalization. This technique allows for increased control of phase at lower frequencies, reaching a higher resolution than industry-standard FIR filters have permitted. The result is optimized dynamics, phase, and sonic detail for more transparency of the original input signal, increasing the quality of sound and performance of the speaker.

PMT have got it right. They cater for the mass market... the people that want a Fender. PMT in Birmingham for example, know that locally, their only competition is only really Guitar Guitar. If you want anything without a mainstream brand on the headstock, you are going to be going down the road to see Mr Stickley.

Is that because they are supplying the Mk3? Not that it's an issue - I'm on the Mk3 - theres nothing worthwhile about the Mk4 that would want me to change.

I kinda feel sorry for the staff in music shops. I also feel enraged about the staff in music shops. I remember having a good chat with one of my friends (somebody who has worked in the one of the music shops in the midlands for many, many years). I said it annoyed me that whenever you go into a music shop and ask to try something out or be shown how something work, 9 times out of 10, the staff are clearly winging it. They have no idea how or what the device/software does... and even start telling you a load of horse shizz in the hopes of selling you something. His response to me was that the guys in shops cannot possibly know everything about everything they sell - and it looks worse because customers have often done research before getting to the shop (who would have thought eh?). I said that I agreed - but even the nominal level of understanding is rarely displayed. What angers me is that these same shop staff are usually sitting on their derrières - they could be learning about the products that they are selling in the times where the shops are quiet. I understand that not every member of staff can not be clued up on everything - so how about divvying up the products so there is at least one member of staff that has some understanding. I would have a lot more respect for a member of staff that says to me, "I can't help with the product in depth - but if you wait for xyz, they will be able to take you through it all in detail...." It's funny - the desire to be clued up seems to have vanished. A guy I knew, sadly no longer with us, could never afford any of the equipment that he was interested in but had a real passion for synths. This was back in the day before all the information was available to download on the manufacturers websites. He would often contact the manufacturers and purchase the operating instructions and tech manuals just so he could learn about the products that ultimately, he could never afford. Anyway, cut a long story short, he used to go into shops to play on this gear - and his knowledge of everything blew the shops away - especially when they found out that he was showing them all the advanced and deep editing features. Before long, he had given up his job of fruit machine repairs and went into music retail. Within 6 months, after the synth reps came in and saw what this guy was capable of, they were fighting over him to join them. Shortly before his death (very sad botched appendix operation), he was consulting on the embedding programming aspect of much of the stuff found in modern DSP. I often think about him - and his passion for learning - compared to the guys selling stuff that they haven't spend 30 seconds looking at or even having a brief look through the instruction manuals. It's though it should be a given that anything should be instantly usable to the nth degree with zero learning curve. Very sad. So yeah, it upsets me that the selling staff are mostly clueless about what they are selling...

Me - could I please take a look at this bass? I'm very interested... Them - Alright Slash... what's with the hat? Cold head? I would have thought you were more into your Les Pauls... I know you're in a famous band but do you have the money for me to be arsed to reach this down? Or should you be looking at the starter guitars over there? They are a lot cheaper than this bass... maybe they would fit with your budget a lot better? Me - were you dropped as a child?

Hmm. Perhaps we are not killing rock n roll as much as we thought.

Kemper - Gain, bass, middle, treble, presence, volume, master volume knobs....? Umm...?

People like that don't get gigs... or friends

Me - could I take a look at that Sadowsky please? Them - * 7 shades of stock licks before passing it to me * Me - first gig of the year or something?

Klark Teknik DI - does this mean the amp tone is not being committed to DVD? Any miced up cabs due?

Yes - but there's no horn involved. Can't do anything with 80 inches of flab.

They aren't a UK company despite them having a UK address - a bit like DV247 - they are based in Germany now. I suspect it some tax thing.