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  2. Blimey Dave, if they both feel like 'the one' then, by definition, that must make them 'the two'? 😄 But seriously mate, very few of us get to thinking that any bass is 'the one' (@TRBboy being an honourable exception), so if you've found 'the ones', hold on to them!
  3. Heresy, heresy, HERESY! Mods please get this chap thrown off BC for use of such offensive, contented, language. 😁
  4. I've recently seen Martin Turner, Ex Wishbone Ash live. Outstanding band. I wouldn't go to see Wishbone Ash with Andy Powell though but that's for a different thread.
  5. It's a simple backing track that our drummer triggers from a Roland SPD SX. We're all on in ears so we all get the click in our mix.
  6. Something else I want so price drop until it goes.
  7. I’ve programmed clever pitch offsets to the oscillators, controlled by expression pedal. See here: Here’s another example which uses the expression to switch between m7b5, m9, 9, and maj9 voicings: https://drive.google.com/file/d/1RZ1sySW33BoJn4nCSrHj8940yv_mw81E/view?usp=drivesdk
  8. Seen something else I want to price drop until it goes .
  9. Hey Dave. Guthrie got up and did a impromptu solo with us on that night & i dont think he'd even heard the track before hand? I found the clip on YouTube just yesterday and then noticed the feed on here. Its was all done in a very lighthearted spirit anyhow. What a player Guthrie is though
  10. IMO one member is fine but I'd draw the line at no members! I did some gigs a few years ago with a Thunderclap Newman and the closest they came to an original member was the guitarist who replaced Jimmy McCulloch. To be fair they were billed as Thunderclap but the posters could be misconstrued, and often were!! In the Early 70's Fleetwood Mac's management tried to send Stretch out as Fleetwood Mac on a US tour. In the end the tour didn't happen because Stretch refused to do it.
  11. Woodinblack

    Boss SY-1

    Interesting - if it is monophonic, how do you get to pick which chord you are playing?
  12. Slightly off topic but here’s a polyphonic sound achieved by my lowly monophonic Future Impact. I’m pretty sure the SY-1 can’t do this as the finger stretches alone would make it impossible. https://drive.google.com/file/d/1gNq_3POlLpeRq6dFjoY8boVaQ1no3hHy/view?usp=drivesdk https://drive.google.com/file/d/16zIK035UiU-aBZGjUKVVW5_XzvW5pB7g/view?usp=drivesdk
  13. OK, next questions, does anyone have any flight case, hard case, bag recommendations for the Stomp and, slightly more esoteric, has anyone found a way of mounting this on a stand? I'll have very few presets for live that I can switch between songs, I'll not be using the foot switches live so I'd prefer to have it up on a stand as I sit whilst playing.
  14. It's an anagram of 'the noo', so I'm imagining some kind of Scotch influence...
  15. I notice that you're using double ball end strings here. I had never thought to do that but I can see how it would work with the shape of the nut/retainer. I use regular strings on mine and although I used to stress about changing the strings on it, I was given some helpful advice by some fellow Bogart owners on Basschat. Now, I find stringing the Bogart far quicker and easier than winding strings onto a tuning post with conventional tuners.
  16. Really quick actually. I went to my Bass folder on the Computer, clicked on it , selected the photo and posted it! Actually can't take any of the credit, seem to think it was off Talkbass many moons ago, so I literally drag it out whenever the subject arises. It seems to have a sticker on the rear left hand side, so that might imply it was a manufactured item?
  17. Been at the show about 1/2 an hour, and the main thing I've learned is that I really need my compressor.
  18. I don't know - but some banjos are like that.
  19. I managed to nail two 4-note minor II-V-I progressions and one 4-note Major one with proper smooth voice leading before going to bed at 3am. https://drive.google.com/file/d/16zIK035UiU-aBZGjUKVVW5_XzvW5pB7g/view?usp=drivesdk https://drive.google.com/file/d/1QuMyeSINcPydaKBkXAoNqHQ9vF3lJ_Kn/view?usp=drivesdk https://drive.google.com/file/d/1gNq_3POlLpeRq6dFjoY8boVaQ1no3hHy/view?usp=drivesdk
  20. Thanks! Yes, I am! I had this idea when I first started beta testing and had some limited success with it. One of the others in the group thought it was pointless as it would be unusable. The addition of the hard-transition curves last week has made it possible to make the changes in easier-to-control ways; the rest was just maths and I knew I’d get there in the end. Obviously it has its limitations, being tied in to either a major or minor progression but could easily work for muti-tracking. There are loads of jazz tunes that are built solely out of major II-V-I progressions so it could be used. I’m sure someone will find a use for it and it’s a good showcase of the flexibility that the Flexi Controllers offer.
  21. That is exactly how it works. I chord is at toe-up, II chord at mid position, V chord at toe-down. It took a lot of working out to get it to work as you aren't working with actual pitches, but rather with offsets from the root note, which is shifting. That would be quite straightforward if you want the same overall chord shape on all three chords, (by that I mean, eg. the third is always the lowest note, ninth always the highest etc.). I was trying to achieve smooth internal voice leading so that notes don’t jump around wildly. Only certain combinations of root movement and voicing type work for this due to the numbers. I want to get least one version that is built of the 7th and one that is built off the 3rd for both the major and minor progressions. Basically I’m using two or three of the new Flexi Controllers to alter the pitches of the oscillators. I look at which offsets need to be applied for each chord then work out combinations of three that best work with the available transformation curves. I use a linear curve for combinations that are symmetrical such as 12-14-16 or 26-27-28. Then I look for combinations that can be grouped in a 1/3, 2/3 arrangement such as 31, 31, 38 as there are some hard-transition curves where you can specify which point the curve jumps from low to high; setting that point towards the right means that the lower value gets held until the toe-down position. It’s basically maths and problem-solving. You don’t really need to understand how I did it in order to make use of it. You don’t even need to use the sound I programmed. You could use the Flexi setup I made as a template and create a wholly different patch around it.
  22. Orange Terror Bass gets my vote. Just remember the EQ is an old school passive tonestack that's scooped with the knobs at noon. Flat is with the bass and treble off and the mids maxed. Bit weird to get your head round but dad easy to find a great sound with minimal twiddling. There are also a ton of pedals you can use to get that sound out of any amp.
  23. I’ve had this for a while as backup at gigs. The machine-heads were upgraded to Schiller and I bought new individual bridges to upgrade from standard too. Plays well with a fast neck. The frets could do with a file on the edges in a couple of places but a great bass for the money. Active EQ and multi scale fan fret. It was £150 new without upgrades. There are one or two dink’s which I’ve tried to photograph but nothing major at all. No gig bag for this so collection only please from West Kingsdown in Kent. A great bass for £90! Official blurb: Fan Fret, Multi-Scale Design Boasting a 34.5" scale on the high string and 35.5" at the low end, the RedSub INF Fan Fret Bass Guitar offers premium construction with comfortable playability. With a body made from USA basswood, the INF Fan Fret offers a comfortable playing experience and eye-catching design due to the ergonomic bevel cut in the top of the instrument. Combine this with a deep cutaway and curved neck heel and you have easy access to each of the 24 extra jumbo frets. Versatile Tones, Ideal for Stage of Studio The pair of humbuckers have been specifically designed to complement the construction of the bass guitar. They're angled to accommodate the fanned construction, being at the sweet spot for each string. The neck pick up sounds fuller and warmer, ideal for reggae or jazz, while the bridge pick up provides all the growl and articulation needed for rock, indie and punk. Twin adjustable volume and tone controls allow you to blend between each pickup whilst having control of the character of the sound, creating a bass guitar that suits a number of styles, and is equally at home on stage, studio or rehearsal room. Specifications Body & Bridge Body: USA Basswood Finish: Black Gloss Bridge: Fixed Neck & Fingerboard Construction: Bolt-On Neck: Maple Fingerboard: Thermally Treated Maple Ply Scale Length: 34.5" - 35.5" Nut Width: 42mm Fret Material: Extra Jumbo Pickups & Hardware Pick-ups: 2 x Humbucker Hardware: Black Machine Heads: Die-cast tuners Controls: 2 x Volume, 2 x Tone
  24. I am the new owner of the pedulla, but unfortunately I am forced to sell it, if you are interested you can contact me

    marcello costa

    [email protected]

  25. Barefaced Super Twin for sale £650 This is a reluctant sale due to retiring from loud music. This Super Twin is in perfect condition, never gigged, just used for about 1 year of rehearsals with band, well looked after. 1200 Watts and very portable. Massive bass sound, what more can I say. Collection only please.. Pete
  26. Just put up 3 of my nicest basses, have to reduce the collection for financial reasons, take a look.

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