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This is now significantly reduced in the Fenderfever sale, in case anyone was pondering it

The Scarlett 2i4 interface uses standard XLR cables I believe.

It's both economics and functionality. I use RCF 745's; the 4" coil compression units are £300 ea, the amplifier modules £200+ per amp and a 15" drive unit from RCF around £300, that's without th e DSP, matching horn flare and all the other bits of hardware. Building at that standard would cost well over £1,000 per cab and I paid £1300 for a pair second hand. In addition I don't really have the facilities to develop and design the crossover, even if I had that level of skill. I know how long it took @stevie to design the crossovers for his cabs and this is someone who designed for KEF and Yamaha. Did I mention the cost of pro level design software? The truth is that it would be really challenging to match the technology now used in speaker design. The plus side is that you can buy some really good kit for not a lot of money. Active cabs with amplification and speakers designed as a complete system saves money and time setting up and allows you the chance to design in things that the best sound engineers can do but few bands could deliver. It's a bit like trying to build your own car, you might be able to build something which excels in one aspect but it is going to cost you a fortune, take up hours of your time and isn't going to be able to match an ordinary family car in general usefulness and probably reliability On a practical level if I am in a band I want a PA I can use tomorrow. I'd be balancing the needs of the band against any desire to build my own PA and if the band folds I can sell the PA and get most of my investment back.

Willing to go through the trouble if it will be an opportunity for me to be hired as a graphic designer or UI artist in their team! Ivan did reply and said he will forward it to the team but no promises. Still hopeful like how Q started the Origin Effects B15 petition which have been already in development!

The other observation I forgot to mention (and this applies to all the BassRigs compared to tube-based pedal recreations of those amps): there’s something different in the way the overdrive decays. On the tube pedals I have used (Shift Line Olympic (roughly like the ‘64 Black Panel), Shift Line Flex (supposedly B15 but uses 12AX7 and sounded closer to the Super Vintage) and the Grand Slampegg), the drive has a softer attack and noticeably longer decay time compared with the BassRigs. On the BassRigs it reacts with more of a quick spike. The drive character when digging in to cause breakup is also “smoother” on the tube-based pedals compared to the BassRigs, though some of that may be to do with my having used the 1/4” output on the latter.

Wow, that looks great.

You are correct in many ways, but the basschat designs are well proven, so building them is low risk and relatively low cost. This 8" design is not only proven but at two bass bashes, under blind test conditions, was chosen as the best of all the cabinets. It should not really be a surprise as the driver was chosen for its extended response, meaning that it sounds good without a tweeter. Some, although not all, of the other drivers were bigger and those that, were originally using a crossover/tweeter, were rewired so that the HF section was disconnected. Of course, like many blind tests, it is hard to make them completely blind, but it was an interesting exercise. However, blindly putting drivers in existing cabs is what BFM might calla Crap Shoot and the odds are stacked against you.

Tonight 19th November, Sky Arts, 10pm. Gary Moore : One Night In Dublin A 2005 concert, where he is joined by Brian Robertson, Scott Gorham and Eric Bell.

Slowly Growing Deaf - Mr Bungle

Yes, it will be much easier than printing over the body...

I wonder how much trouble you could cause by taking your professional looking image and sticking on the other bass forum and Facebook groups with "have you seen this - so looking forward to it" type comments ....

OK, had a bit over an hour on it so far. These are my first impressions. Obviously take them with a pinch of salt and do try one for yourselves rather than trusting one person’s opinions. Mostly just played my Fender American Pro II Precision with rosewood board and 4-year-old Labella 760-FS strings. I’ve so far only played it out of the 1/4” output (so no cab sim) into the Shift Line Cabzone Bass and using its headphone output. I’ve run it as-is and with the Shift Line B15 cab sim (the same one that is the stock one in the Ampeg SGT-DI incidentally). I do like it. It’s not going to replace my Grand Slampegg (though I never expected it to; I was thinking this would be more a case of something close but without the reliability risk of tubes). Going from memory, the Fifteen has more bounciness in the string feel compared to the Broughton Fliptop; on the latter, the D and G strings always felt a bit “stiff” above the 7th fret. Would be interesting to be able to compare them directly as I played that pedal as my only preamp for a good couple of years. As the Grand Slampegg doesn’t have a gain control, I had to dial in a fairly clean sound on the BassRig (drive knob around 10 o’clock) to match. Bass knobs at 3-4 o’clock, treble knobs around 10 o’clock. The GS definitely has more “squishiness” to the feel, if that’s the right word (it’s hard to describe); sort of like it makes the strings feel like they’re made out of a different material compared to the dry sound, more rubbery or elastic. (The way I have mine set, I actually find the ‘64 Black Panel seems to feel a bit squishier to me compared to the Fifteen, though I have the former dialled in with drive set to the point where anything played above a medium level breaks up a fair bit. The Fifteen feels a bit more like the Super Vintage under the fingers to me.) Compared to the BassRig, the GS also has a noticeably fuller/warmer bottom end and the attack of the notes have a kind of slight softness or bloom to them that isn’t present in the BassRig. The BassRig does seem to have a certain midrange note that pokes out more than on the GS. Out of the three BassRigs, the Fifteen (at least when set to match the GS) sounds good with both my P basses (the second being the same type of bass but with a maple board and (I think) the stock Fender nickel roundwounds; the way I have the other two BassRigs set at the moment (64 set as above, SV very clean with boosts to bass, mid (@ 220 Hz) and treble) they sound great with the flats but not so much with the rounds. (Maybe I just don’t like the maple/rounds combo much; need to experiment with different strings and using rounds/rosewood and flats/maple to compare.) And just to emphasise why you should take my findings with a pinch of salt, could anyone recommend what XLR cable I need to hook between the BassRig and a Scarlett 2i4 interface? It has combo inputs which take standard 1/4” and some other kind of connector I’m unfamiliar with. Also if using XLR-to-1/4” from the BassRig, could I plug that into the 1/4” input of the Cabzone so I could use the BassRig’s cab sim and monitor on headphones (instead of having to hook up to the computer interface)?

I thought better of posting...

I'm in too..

Can You Hear Me - Korn

I think i prefer the rosewood board but its between this and the 70s 'walnut' finish (with cream dimarzios) for me.

Looks lovely. Does Gary have the other 4? 🙂

Great. Now I want a Mustang type. Dagnabit.

My NS5CR is also 35" scale.

Regarding the Jazz Bass with a single rear pickup, I think you might be thinking of early-2000's era Dan Glenn. He was/is(?) and L.A-based fretless player who had a beard, looked a bit like Mo Foster and played a fretless Modulus Jazz that had one rear pickup. Could it be you have got the two a bit mixed up/ mixed together?

I sent a new FX block proposal to Ivan from Darkglass proposing a synth fx block idea. It's basically the same blueprint of Entropia but synth engine where you can play around with LFO, Filters, Dirt, Sine waves to achieve classic synth tones. Just like how Entropia has different templates, same with Synthropia where you can achieve song ready synth tones like what you hear on Stevie's boogie on reggae woman, PYT, 24k Magic , moog related sounds and then tweak parameters to further improve your desired tone. The icon I made is just a quick render during my break at work. I just matched the same design elements in the Anagram's fx block icons. I really hope they have something synth related lined up in the future.

We seem to get lumped in with 'darkwave' (recently played gigs with Sisters of Mercy, the Mission, Lebanon Hanover, She Past Away, etc ) but we're not. The greek crowd, well you can see from the audience shot, look sort of goth/darkwave - I don't get the connection. Check out our Spotify and you tell me