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I was just looking at that a few minutes ago, hope nobody gets fooled

I can do that stuff most of the time, but look dreadful naked. Swings and roundabouts Rob.

Wood - Taylor Swift

https://www.ebay.co.uk/itm/116884079964?_skw=bass&itmmeta=01KA8SS1DXQ8PYAKAR25R1HHKG&hash=item1b36d5855c%3Ag%3AS6MAAeSwYARpGvmp&itmprp=enc%3AAQAKAAAAwFkggFvd1GGDu0w3yXCmi1esn%2FqEN%2BZ16dOiED2eFcqZv3uAJzVoEB%2BEBEVKaOPjPaaIla1m69zPja5xS%2FB3SC%2Fg6B2P%2FAf9IzPPNUD9fM5IEu7yKRflMzA6OZifwojnOiE4ATXIL3TXTJ0mCQQOHn17pnvO3xfEnC3qQuFAITas9bTCuioC3NQcPNta%2BOP89lbdAHsUEYFt1C358xriqjITRG5eCzC3kTfiOTDvHAbTLT8tUio1%2BkufHzKRM6bTGw%3D%3D|tkp%3ABk9SR5qX5JnSZg&LH_ItemCondition=3000

Block diagram has obviously not been updated correctly since v3; there of course ADSR envelopes for the amplitude and filter. The amp envelope functions exactly as one would expect on any synth that has one.

Big Log - Robert Plant

Could it just be the front grill?

Many of which were highly "influenced" by various post-punk songs.

hey jack. Thanks for the advise. The pedal playground helps a lot. I did more research and learnt about linear and switch mode power supplies.

Much of the bass on later Pink Floyd songs was actually played by David Gilmour though, even on songs Water's wrote. As great a song writer Roger Waters might (have) be(en), he has somewhat degraded as a bass player.

I now have a vintera II incoming — it should be with me tomorrow. I already have a set of LaBella flats for it. I should be able to do a side by side comparison with my classic vibe once I've set up the vintera.

Had a couple of rehearsals last week that involved a fair few of the same people in different configurations. There's my main band of 20+ years, and there's the band I've been depping with for a year or so - but one of the guitarists from the main band has been a full member of for a few years. After a patchy year (hence my involvement) they parted ways with their bassist just ahead of a co-headline slot at an all-dayer, and we'd agreed to play a set at a charity tribute gig before finding out that our singer would be out of the country at a conference. So they pinched me, and in return we pinched both their singers. The all-dayer was on Saturday and the charity gig is this Friday, so I'll see how that plays out and post a wash-up of both in the gigs thread at the weekend. The rehearsal with the main band had potential to be a bit weird as it was held at the other band's room and had the possibility of making our drummer and rhythm guitarist feel like visitors at their own show, but to be fair it was the only full rehearsal we'll be able to fit in so it had to happen irrespective, and a mixed bunch of people from two originals bands playing a set of covers with very little together-time beforehand was never gonna feel 'normal'. The first run-through had a few iffy bits, most of which were ironed out by the second time through. Third time was pretty decent to be fair. If that had been the show then I think people would have enjoyed it and we could have gone for a beer, so whilst we've all got our homework for this week there's now at least a hint of that comfy feeling that it can, and hopefully will, be alright on the night.

I've had a couple of pickguards from Brian / earlpilanz and they are both perfect. Me too and they've been superb.

Tried tuning down my cello in fourths to ADGC to use as a tiny double bass. Works OK, though would probably be more convincing with bass rather than cello strings. Surprisingly OK (through an amp) though. Used a violin mic on it here. att.Xcm38MaFsle0GjA9RZtvyu183pgDxOch70TQmGKiCJ8

Never tried these but they currently look like they are at an excellent price on Amazon : £46 for the extra light set and £54 for the medium. Bass Direct currently have them at £89 and others for more. Hopefully worth a punt.....

I hope that program makers also remember that some of the most memorable bass lines ever weren't written or played by bass guitarists - cf I Feel Love or Der Mussolini.

I just don't like external PSUs. I don't think that they are robust enough for gigging use when used separately. They are OK on pedal boards and in racks where everything is wired up once and then not touched again and are clamped and cable-tied in place so nothing can move in transit. The failures I have seen have all be on the low voltage side, usually the cable becomes worn and fails. The cabling and connectors when exposed and not hidden away in a rack or pedal board are fragile especially compared with an IEC mains cable. Also the low voltage barrel connectors don't lock in place, so if they are not part of some permanent installation it's too easy for them to become disconnected mid-gig. The Strymon Zuma looks great but it's too big and I don't plan to need to run any other effects so pretty much overkill for my requirements. I have a One-Spot adaptor somewhere. It used to be part of my previous rack set up. The only thing that worries me is that it was the only point of failure ever in that rack, because the wall-wart part doesn't fit as snugly into a 13amp socket as a typical UK plug and had worked loose in transit, and then bass vibrations through the rack caused it work further loose mid gig causing both my wireless receiver and Thumpinator which were at opposite ends of the signal path within the rack to fail mid song. At the time it wasn't obvious what the problem was so it was quicker to bypass my rig entirely and go direct into the PA. The One-Spot was replaced with a Thomann multi-way adaptor that connected to the mains via a standard UK 13amp plug and cable before the next gig. The reason I'm going for the FI and not one of the other filter pedals is that it appears to be able to do the one thing I have been missing from my setup which is the apply a filter effect to the input audio signal but control the cut-off envelope modulation via MIDI note information. So basically all I'm doing is providing an audio signal and MIDI control is doing all the filter shaping. Other than the VCF I don't intend to use any of the synth facilities at all. There are just two things that worry me: 1. The computer editor shows a full ADSR envelope for the filter, but I can't see it anywhere in the block diagram on page 99 of the manual, just a selection of the AD and AR envelopes. 2. There doesn't appear to be a controllable VCA after the VCF. On a normal synth there is always an envelope controlled VCA at the very end of the signal path. This is because you have more sound shaping options if the volume envelope and the cut off frequency envelope are separate. In fact there doesn't appear to be any envelope controlled VCA in the input signal path. This might be a major problem for the sorts of sounds I want to produce. Ultimately I think I'm going to have to buy one and send it back for a refund if I can't get it to do what I want.