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  2. Yeah, but it's... Well, you get the idea 😂
  3. PM-ing you. I'm building a filter board as an extension to my latest board, using the HX stomp loop for various things (already built a processor board with Freeze, Boss slicer and Ditto x2 on it - fun!)
  4. I would imagine if you swapped the cabs over and did the same eq process as above the results would have been equally satisifying as they are both FRFR. But in the heat of battle you found a way for the show to go on.
  5. But no humans other than Tech Bros were disadvantaged in the process, and they don't really count.
  6. Indeed @BigRedX, but that's exactly how music has always been composed, "stealing" parts from the others, but now with AI you don't have to learn music, just ask and use what seems interesting to you. Plagiarism is still not really legal.
  7. FENDER BASS VI with 1963 Neck So, let's make it clear from the start. This is a parts bass, but surely a high quality one and probably a "unique parts bass", assembled around an original 1963 neck and with mostly original or reissue US-made components chosen to have the most convincing Fender Bass VI replica. Having been in search for a not-so-expensive original Bass VI for years, I happened to find a 1963 neck in truly Excellent condition, probably the only original 60's standalone neck sold during the last 10 years. The price was high, because adding to the asking price the shipping costs and customs taxes (I bought it from the USA, as most of the other parts) it reached a shocking sum, but I saw it as one of those chances that happen once in a lifetime. The neck was sold with its serial number plate, so I bought a set of new period-correct Kluson single line tuners and coupled the neck with a black reissue body (it probably came from a Squier Vintage Modified Bass VI), a WD Music tortoiseshell pickguard, three Fender pickups that I had rewound to the original values and with staggered poles just like the 60's originals, CTS pots and switches with a couple of original 60's knobs. The chrome plates are US-made Fender reissues, with a Staytrem tremolo arm. The bridge that you see in the pictures is also a Staytrem with 7.25" radius, but I also include an original 60's Fender bridge (as used on the Jaguar and Jazzmaster, with threaded height adjustable saddles) with its floating mute. All these parts were bought from US sellers. Furthermore, the bass is housed in an original 60's Italian Fender case (as you may know, Fender guitars and basses were sold with no cases in many European countries and were equipped with locally made Fender-branded cases). The bass also comes with an original Fender Bass VI Owner's Manual, rare as hen's teeth, no need to add. Everything is in exceptional condition, bought in 2018-2019 and mostly played at home. The only defect is a paint chip under the bridge, caused by my attempt to enlarge the hole for the mute plunger and spring. You can see it in the pictures attached. The neck has been played very little and has no marks, with the frets still having a long life left. The back of the headstock has some very nice checking on the nitro finish. The bass weighs exactly 4 Kg and it's perfectly balanced with no neck dive. It's currently strung with roundwound Fender 100-024's, offering a rich, powerful and well balanced sound. The action is medium-low (around 1.8mm on the 6th string at the 12th fret) with no buzz, the truss rod works perfectly. The dark green case has a crack on the top side, but perfectly protects the bass. It's very light, the yellow plush lining is in nice condition and the metal feet, hinges and latches are all present and working. I'm selling this a bit below my purchase cost just to fund essential home expenses, so I'm sorry but the price is not negotiable and I'm not interested in trades. The price is surely high, but please compare it with current prices for 60's Bass VI's (around 6000 USD) and reissues such as Customs Shop's (3500-4000 USD), Japan-made replicas (around 2500 USD), current production Mexican made Pawn Shop and Vintera models (1200-1500 USD). I only accept a bank transfer payment. The bass is in Italy and will be shipped with courier, preferably to EU countries (just to avoid many customs documents, higher costs and longer delivery times). The shipping price is approx. 100 Euros to EU. Price £ 2600 GBP = € 3000
  8. But how can anyone tell? There's only so many note combinations. Songwriters and composers come up with very similar tunes all the time. If I sign up to an AI music generator via VPN using a one-off email address, and then by the same method use an on-line stem separator. Convert the results into MIDI. Redo the bits I don't like, and keep the rest but using my very similar sounds, or me playing guitar or bass parts, there is no trail back to me and no way it can be proved that I didn't come up with the idea all by myself.
  9. I do wonder if in future we'll see predatory court cases in the other direction. As in, creator makes money on an artistic work, AI company pulls our that creator's prompt history and activates their legal team. Possible? They're certainly well resourced operations who could afford serious legal rep.
  10. If you use AI like you would use a dictionary or a grammar, there's no harm as it's considered like usual help, but if you use AI to fully generate a tune, it's, of course, legally, not possible to copyright it as it's not your work. There lies the difference.
  11. One Day I'll Fly Away - Randy Crawford
  12. Hey @asingardenof how did this turn out? Any issues with the install?
  13. Maggot Brain - Funkadelic
  14. I added better photos
  15. I did set up some patches for it on the BassPod I owned at the time that had additional gain to compensate, but the weedy sound was just one of the many reasons that this bass was completely unsuitable for me and ultimately it was simpler to sell it and buy something I could get on with.
  16. WOW a piece of 80's magic!
  17. IMO the vast "data set" that AI uses to make something is part of its downfall. A bit like the musician who says they are open to everything but because they have no focus doesn't really get most of it and as a result what they come up with never really fits properly. And if you were to get AI generation to restrict it's data set to a particular genre then it doesn't know when or how to borrow from outside of that genre, to make something just a little bit different and maybe more interesting. But where do you draw the line? If I type some prompts into one of the AI music generators, it might come up with some interesting ideas, none of them will be perfect but there might be something that can be developed, in the same way that when my band writes a song the original idea that one of us come up will go through many changes and mutations as each of us adds their take to end up with something that has moved on quite a bit from the first musical themes. If you start with an AI generated piece of music and develop it, how can anyone tell that the original was AI generated?
  18. Bump for price drop before it goes to Bass Direct. Now £1800.
  19. Very well done indeeeeed. You have won our coveted Pointless Trophy. Thank you very much indeeeeeeed.
  20. There's at least one Krappy purpose-built Sandman two-string. (I know, I've got it.)
  21. Hello! Anybody there 🙂 Any thoughts to share about this as an option: https://www.emgpickups.com/bass/pj-models/pjxset.html P
  22. Don't know if this one is an irrational prejudice or just a part of my evolutionary journey but here goes: 4 string basses. Despite me learning to play on them!
  23. On the cusp of retiring but now have the possibility of a little project so, the ideal situation would be to exchange these three instruments for one. I'm after a 5 or 6 string (as I need a low B) First up, old faithful, Warick Streamer STD. 2001. Made in Germany. Passive, gigged, everything works as it should and has always felt like an old friend. All the age related marks that tell a great story of a lot of gigs. This is simplicity at it's best. One MEC with coil tap, one volume, one tone. Stays in tune, sounds fab, easy to play. Adjust-a-nut 38mm, spacing at saddles 19mm. 3.6kgs, Straplocks. Next, a Squier P bass that the previous owner has put a Fender logo on, or another neck. Bottom line is, no damage, all works perfectly, sounds like and plays, exactly like a P bass and doesn't sound any different to the USA one I had. Not sure of make of P/U but huge output. Last up. my Dean Pace EUB 5 string. Only one French cocktail gig sound-check pic at present but will add more if any interest. All works, sound great with the current La Bella white nylons on. Ideal to get into EUB as 35" scale. Has the proper case and the all directions ball-joint tripod stand. For me, I'm fine with passive or active instruments, not a huge fan of Ibanez. I've priced this collectively as a trade value in the hope of doing a trade as space is also an issue but happy to talk if there's no interest in the job lot. Not averse to also adding a little to the deal for something I really like.
  24. For sale only, no trades please. This is a superb medium scale, lightweight (7.7lb) take on a jazz from the stable of Mike Walsh/Zoot. Back in around 2018 I was hankering after a more traditional looking bass but being a convert to shorter scales it wasn’t so easy to find exactly what I wanted. Hence this commission, which has been a gorgeous bass to have in the family. Fast forward 7 years and things have changed a little, and I’m finding that the gigs where this was used are either no longer happening or I’m using my new ACG. In excellent condition bar a couple of very tiny marks which I’ve tried to picture. So, what is it? Mike’s Funkmeister body shape has been around a long time, with people speccing a variety of options over the years. This is the second medium scale he made, and it features a slightly slimmed down body vs the full scale model. Full specs: Idigbo body One piece maple neck Ebony board, bound with MOP blocks Nordstrand Big Split pickups Hipshot KickAss bridge Hipshot Ultralite elephant ear tuners Passive Vol / Vol / Tone Gloss black finish BWB scratchplate Dunlop straplocks The neck is ultra slim, so combined with the low weight this makes for a superbly playable instrument. It’s currently strung with some Status rounds, 40-100, and will be supplied with a gig bag. Collection in person from Merton Towers is preferred, so you can come and play it and be 100% happy. I’m about 5-10 minutes off the Gatwick junction of the M23. If you want it delivered, let’s talk and work out a suitable solution.
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  25. Today
  26. I don't know if this is still a live thread, but my LFSys Monaco completely saved my bacon on Sunday night. My usual set-up now is a Barefaced BB3 with a Monaco on top. This particular venue was a bass standing-wave disaster. I was feeding back all over the place. I couldn't hear a note. I turned myself up, and the bar next door complained that glasses were rattling off the shelves. Really, really awful. We stopped the gig. I went down to just the Monaco, sited on the other side of the stage. I graphic EQ'd tons of 100 - 150Hz out, to correct for the room, and flipped the phase of my preamp. Also took every last trace of the bass out of the wedges and FoH PA. So the entire gig I was just using a very thinned-out, heavily driven, single Monaco cab. It worked. I was loud enough for me and everyone else to be able to hear what I was playing. In the crowd phone recordings I have heard I was plenty loud enough, and the tone whilst not perfect (when is it ever?) was perfectly fine. All this from one single, modestly-sized cab. I would now go so far as to say that everyone should own at least one Monaco. To get the sound you want, you will probably dial EQ in. It's not a sumptuous sound in and of itself. But the whole point of a FRFR speaker is that you can dial in a sound. And in this case the ability to dial-out the sound of a terrible room really saved my gig.
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