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OC-2 Comparison.mp3 Ok, so I've plugged in The OC-5, followed by an '84 'Octave' OC-2 and then an '83 "Octaver' OC-2. All are soloed on the -1 octave (OC-5 in vintage setting on Bass mode) All three are individually power by a Boss RPW-7 to make sure they all have the correct voltage hitting them. I'm using an MIJ '57 Reissue P bass with worn in flats straight out of the DI of an Ampeg PF800 pre EQ into Logic no processing. Playing around the sweet spot of 7th to 12th fret for the little riff in the demo. I can't feel or perceive any latency from the OC-5, what I can hear is that they all sound a bit different and the OC-5 is much louder due to a better noise floor. IMG_9619.HEIC

Another update from me… Some tweaks to the setup of pre-amp, compression and drive. Signal chain Tuner>Comp>Pre… I then I have a signal split Pre-amp DI out>CabM+>FOH/IEM and Pre-amp 1/4”out>Genz4OTF>LDP>Box ofWar>Thumpinator>Amp Box Of War - this is a custom shop version with the mid switch which fills out the scoop / fattens up the low mids from the 0700 to 1100 position but isn’t much use to me personally dialling it above noon. I keep the mid-switch engaged and am enjoying the thick muff tones which grew up listening to in the 90’s grunge stuff. My guitarist doesn’t really use much dirt live (he’s a cowboy chords kinda player) so there’s scope for the bass to do the more driven sounds in songs like Zombie and 7 Nation Army. LDP- boost and drive. The drive is a pretty solid sounding unit with bass specific touches and does the low gain to a moderate gain sounds we can appreciate on the gig. I like it set to low ish gain for character. The DEEP switches are engaged on both sides and they add a pleasant bump without getting muddy (I’m guessing around 100hz). The Boost side comes after the drive and is really good on its own to put a touch of something on the basic overall bass sound. I have the Tone knob rolled back for taking some of the zing out of my jazz bass in tracks like Proud Mary. Winding it up over noon can liven pick playing and I use it a lot finding it can be a really satisfying always on and versatile tone enhancer I.e turning the tone down completely for a warm pillowy sound which isn’t as muffled as turning g the bass tone control fully off. I dig it and it’s a pretty cool looking black and gold unit which I prefer to the older more industrial look Rodenberg used previously. API TranzFormer Cmp Wonderful sounding uniform studio giants API. It had the API output transformer and is a VCA style comp which can often translate to a faster punchier style of compression. The unit definitely has a colour to it from the transformer and that was part of the appeal. I have another VCA style comp which is really nice, maybe a bit more transparent but the API ‘colour’ is real nice! I front of the tube pre amp it is adding its own thing. There’s some preset switches for attack and release so if these aren’t enough control this may not be the unit for you but there’s no denying the pedal adds something by being switched on and imparting it’s own vibe. It’s actually really straightforward and looking forward to gigging with it tonight. The blend is nice as you can push things a little more and hear that comp working but dial back in the clean to keep things juicy. Im usually a one in one out type of person but glad I nabbed these when I did and like I say looking forward to this board over the coming months for the live shows.

Quite a few have gone down the tried and tested Rega route, visually (other than the RP8 type) these are little changed since the 1970s. I replaced my much prettier Systemdek with the RP3 nad the sonic improvement was significant. It comes down to what the priorities of the user are, and how deep the pockets.

Hopefully a limited run of 1.

GnR have popped up with three between 50 and 44, SCOM is still to put in an appearance.

Just a 'throw-away' comment; I had a look at pictures of these various decks and, as a philistine, don't see any major difference in overall 'decor' aspect. I appreciate that we all have different perspectives, and it seems to be important for some, but it escapes me. They all look much of a muchness, to me, from a visual point of view. I have no comment on their technical merits; it's just the appreciation of their aesthetics that I fail to understand. Just sayin'; peace.

Welcome Lee.

With £1500 in my pocket I'd probably take one of the HiFiHub Linn decks as they look to have been well serviced and would hopefully come with warranty/backup. I'm still using my Rega RP3 bought new in 2003 and I don't think my hearing would do justice to a Linn these days. I do get a hankering for a good condition Michell Syncro on occasion though.

thanks for stepping back into the fray again @scrumpymike. How do you want to arrange the payment?

They roll off the very low end so I agree. What they are good for is detail and, for me, I like their clinical response, they really let you know if something is a bit harsh in the highs. What they do well is fit comfortably, and don't leak too much sound to the mic when recording singers. Which headphone would you use for mixing?

Crikey! You'll have Health & Safety on to you with those things. (They're in the Thomann's vid posted above too.)

Not at all. There are people who enjoy Five Finger Death Punch and they are generally not metal fans. Ive never known a metal fan who does like them. They've got riffs and distorted guitars but they're missing anything original or interesting.

Does anybody know of a good bass tab composer please?

I know I've posted most of the Internet in this thread now but here's a good one on the details and design philosophy of the the Mode - they're light! As well as other new basses from Ibanez. That white finish is gorgeous!

I get the impression that the P-16 comment was about adding more monitor mixes rather than remote operation.

Perhaps somebody on Basschat is local to you who can help with the cutting? My knowledge of the East Anglia area is zilch so can't comment. One option might be to clamp or screw down a length of straight wood on the inside of where the cut should be and to slowly cut through with a hand saw. That's how it used to be done anyway. If you go off the edge, at least it's on the waste side of the wood. That's one of the most difficult bits, the others (to me anyway) are cutting the large hole for the speaker and the port hole. I used a cheap trim router, but it could be done using a small hand saw. I am very happy to print you off the port pipe for nothing and post it down. If you are concerned about making a mess the speaker hole, I can also print you a little cover for the edges to hide any mistakes, that's the thing below. Its amazing what you can hide if you try hard enough There may be other options that people can suggest. If you were closer, you;d be welcome to come round and do it here or take some tools off to try. Rob

What a fantastic place to live with a music culture second to none, I'm jealous! Personally, I'd still keep the pedal; you'll probably make new contacts in Ireland with the skills to diagnose/fix it, and it could still prove an asset at home.

I’ll definitely take a look at as many turntables as I can find in the @£1500 area. The Clearaudio Concept looks like a nice deck & I’ll show the Mrs it too. The problem we have with most new turntables that we can afford, is that they all follow this “minimalist” design approach. If you took the badge off of a Rega, a Pro-Ject or a number of other brands, they all look like they’re from the same template. The Linn ticks a lot of boxes. It’s made locally to me, it fits in with our decor, it apparently sounds good (even with entry level tonearm/cartridge), it’s upgradable, and it holds it’s value (should we decide to sell). I’m still open to finding alternatives to it though.

They always show the CQ18, but the CQ20 has XLRs for the output.