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Hope things are more stable now?

Hi folks As you know, items priced at £50 and under are free to post here. Recently we introduced some code that means anything listed under the threshold has to be approved first, because in the past we’ve seen scammers listing basses worth thousands for £1 just so they can avoid paying the fee. The fee protects you as customers - if a seller is dishonest enough to defraud our system we don’t expect them to be great people to deal with. Currently there’s a gap in the code where items posted at exactly £50 are free and may pass by the filter, too. Today I’ve had to stop three idiots trying to evade payment this way. Often people have commented on the thread before I’ve been able to take it down. Could you help out by clicking ‘report post’ instead, so I can get rid? I’ve asked for the gap to be plugged ASAP so hopefully this won’t be for long. Lets try and keep the marketplace free of these types of people please! Cheers ped

Methinks its about time you othah numbskull's started to respec my noledges. It's diving! Scooby diving! (OK then: AKA Scubaru)

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When I finally amassed enough gear to actually be able to sell some of it, I havered over paying to advertise it here. How much would I have to charge per item to make back my £20. Then I had a bit of a word with myself. Basschat is worth the £20 regardless of whether I buy and sell here. The advice, companionship, inspiration and ideas are worth a sight more in fact.

Evening guys and gals, I know it’s rarely suitable in a band situation. I know it’s far from everyone’s cup of tea. I know it’s difficult to eq. I know some people can’t get out of E when they do it but crikey, I love it. I remember when I first slapped a groove and I actually drooled....! I remember coming home with Freaky Styley on vinyl and listening to some of Flea’s maniacal grooves and thinking, “What the Dickens!” My first super slap tone was a Squier jazz bass and a Fender amp which lit up red at the bottom...! Any slap tales out there? What’s your favourite rig/set up? Who sucks, who’s amazing? This YouTube video blew me away back in the day......!

More likely punched.

When i were a lad we used to 'ave to wash up in't t'horse trough in't market Square. It were al reet unless it were't time for fhather's bath. 3rd o' June every yeer, rain or shine. Pots 'ad to be dun at' toe end. Sorry, Ricky. Had to be done....

Like people who put a plastic bowl in the sink

Ah well, just goes to show, as I am not that much of an ELP, Crimson, or Gentle Giant fan, but love Yes and Genesis. Have to say criticising either for not having The Funk is a bit like criticising Motorhead for not being Chic. But then pretty much everything you hate about Yes I like. Don’t really get the “folky chord progressions” thing either, but seeing as probably my all-time favourite female singer is Sandy Denny and Martin Simpson is one of my favourite guitarists I suspect our ideas about “folky chord progressions” may be a little different. To be honest, I don’t really hate any music. There’s some I don’t really listen to (reggae, a lot of R&B/soul, blues etc), but nothing I really hate. Except for Simply Red of course, but Mick Hucknall is a given. 😂 EDIT Have just given PHB and SA a listen (I’ve heard all the others and seen Porcupine Tree live) and they’re not my bag. Too rocky for my taste in prog (as are PT) and a bit too miserable-sounding. What I like about Yes and Genesis is they can be really uplifting. I don’t hear that in any of the others, only the sound of depression (which is something I’m all too familiar with). Of course your mileage obviously varies.

You see…. all this aoelian and dorian mode malarkey is exactly what passes me by. Oh i'm impressed by you all and a little in awe of your knowledge...just not bothered about joining you. I just listen to the song and play what I hear . If I get it wrong " technically", I don't worry ...it sounds ok to me so I play it that way... Frank Zappa must be turning in his grave!😂

^^^ This. I haven't bought or sold on here, & I can't bear to part with stuff, but BC membership alone is worth the money, as Stewblack says. Will pay subs in the next few days. Thanks Ped 👍

Prog-rock yodelling at its finest! I give you...Hocus Pocus...by Focus!

Hey Guys, Martin here... Really excited to be opening our all new Sims Bass Shop, we have loads of amazing products to show you guys, but to whet your appetite here is a link to our newly updated website. https://www.sims.guitars/sims-bass-shop-home We will also be releasing a brand new updated version of our Lionheart model, so come down and see what all the noise is about. https://www.sims.guitars/enfield-guitars/lionheart Tea and coffee provided, you may also see the odd bass celebrity lurking about. Cheers M

This is the original release and the bass line is exactly as notated in the previous post from Lowdown. A two bar pattern using A and F# notes. No B at all is there?

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Extended E strings for me, a la Kubicki style. Shame to waste the space next to it, so bend well a la Mark King style. 😎

You mean you haven’t yet? I assume you bought it yesterday? Being a serial car fettler, with a best mate equally afflicted, our one and only experience of the ‘quality’ of a jag was littered with horrendous stories, and that was one that had been looked after at great expense prior to our time with it. A friend has an XF and apart from being the ugliest car ever to wear the badge, it has spent nearly as much time at the dealer as on his drive. The weird thing is that I would still buy an XJS, but my logic now is to buy the worst, not the best, I can afford. That way it will still be broken most of the time but my bank balance will be considerably healthier.

Or the J

“Knowledge is knowing that a tomato is a fruit; wisdom is not putting it in a fruit salad.” ― Miles Kington

Don't listen to him, Dave. The guy is like quicksand. 😄

You probably don't like the other Scooby nickname then: Council Estate Racer. My Scoob' was the wagon version, which my fellow 'Subaru enthusiasts' kindly christened 'The Flying Wardrobe'. 😄

Elegance, sophistication and a certain raffishness..... (Disclaimer: i drive a Jag and thus identify with many of it's fine qualities. I also expect to break down (literally and emotionally) by the side of a motorway any day now....)

Yup, all chavs

In the 1980s, a couple of girl fans once told me that I looked like (the sadly now deceased) Errol Brown from Hot Chocolate. Despite the fact that I was 20 years younger than Mr Brown, and white skinned, with plenty of hair. Perhaps they were being ironic.

The worst thing about time waster is that they want your goods for a ridiculously low price . I’m all for bargaining but some take the P altogether.

We run a (pink) plastic bowl in the kitchen sink. It's because we are extremely poor, having only a single sink (and a single drainer, as it goes). There are times when i.e. we might have the bowl with some clean hot washing up water in it, and need to use the gap between the bowl and sink to pour away leftover liquids, or run some cold from the tap - without spoiling the clean hot water in the bowl, see? If we were rich enough to have two sinks, I'd wash up using the 'two sink method'. Which would still leave nowhere for slops etc. Therefore I would need one of those tiny 'swilling sink' thingys in the middle (like a 1/8th scale sink). Three sinks! Mannn, I can only dream of something like that...

I'm with you on a lot of these points, 4000. Not really sure how a Stranglers thread became a discussion about the various forms of prog, but I have to jump in as well! I definitely don't hear much of folk in Yes either, but then British folk does happen to be the genre (or tradition, rather) of music I enjoy the most as a whole, so my perception, and definition of folk might be a bit different, more narrow, from others (as an example, my favourite band is Jethro Tull, and while many have applied the label "folk rock" to much of their output, I'd say it's folk-inspired at most - and even then certainly more Celtic than English, and much more apparent in music than in lyrics). I also think medieval bent, as in the case of Gentle Giant, really is something of a compliment rather than something to look past! I do appreciate a good groove but I tend to stay far, far away from one-note funk. I've also had trouble connecting with modern prog bands. Too much of it sounds the same to me; it's often to metal-oriented, and almost always strangely dour, dreary and humourless. I can enjoy a bit of darkness, and certainly some heaviness now and then, but I think prog is best when it's energetic, adventurous and exuberant. I don't have much of a taste for fantasy themes myself, but I do prefer it to brooding self-importance. As an almost-aside, Robert Fripp is very near the top of my list of most pretentious musicians, along with his chum Eno and the No Wave crowd. How do we all feel about Captain Beefheart? In my experience he seems to be one of the biggest unifiers in music. Probably the artist who most attracts punk and prog fans alike. I'm not a regular listener but I do happen to like him, myself, and the attitude is brilliant.

Yes. I have both. Both are staying. I’m pretty busy at the moment but will try and write a comparison sometime next week.

How unfair of them, don't worry though they're all a*******s b******s f*****g c***s and p****s.

I'm not sure that part is quite right (Well, the Bass isn't). I suppose because of the lack of 'E' in that first chord it could just as easily be 'Dsus4/A Bass or, of course, A7sus4 (omit 5). The Bass doesn't play the first down beat of the Bar, so their is no F# Bass in the chord. The second bar there is an F# Bass in the chord. On the PDF sketch score below, from bar 23 onwards, the Guitar parts will explain more what is going on chord wise. Certainly a lot of F# against G happening within the chord(s), along with some lines consisting of 4th's. Quite clever really. This is why @blisters on my fingers isn't hearing a root note (only inversions). Because, maybe there isn't any root note. It's in the Key of D (2 sharps for sure). Plus, I can't here a 'B' note anywhere in the Bass, as in that chart above? I have attached a full PDF sketch score below (from years ago). It's not properly formatted, rests missing, wrong drum notation heads and all in concert etc. But this may help. One In A Lifetime.pdf Plus here is the two bar Bass line (it just sounds like a loop all the way through).

Hey Paul @Hobbayne, you've reminded us we have a flagellation emoji! To get back on topic, I do find this kind of posts sexist and boring, if I can be honest with you all. I'm sick to death of people suggesting I buy some new shoes when @Happy Jack succumbs to GAS, even when they know I'm a bass player (I'm not referring to the OP in this case). I'm bored with hearing about wives who appear to be hostile to new purchases. If you've got kids and your wife has a job, chances are she pours all of her income into the family coffers, forgetting about shoes and handbags, so she has all the right to ask about you splashing thousands - or even just hundreds - on bass stuff unless there's a good reason. Usually, all she is asking about is for you to provide that good reason. Nobody is offended by this male-centred banter: we're just bored sh!tless.

It used to be every time I got a new DB, Mrs B got a new horse. Things started to get expensive. And smelly.

I think that I wouldn't do it if the hanger touched any of the Hipshot assembly.

Just as an aside, the 414 I bought has really grown on me: it's much better for my purposes than the 1024x I briefly had, and that P-pup is a belter. I originally bought it for a song, thinking I'd be doing a fair bit of work on it (bridge, nut, tuners, pickup, possibly a John East EQ), but the more I play it, the more I realise it needs nowt*: I put some Elixirs on it (thereby increasing my overall investment by a significant percentage) and it's terrific as a passive P. I was in a similar position back in the day, when the backup to my BB3000A was a boggo BB300, and there'd be gigs when I just wouldn't bother with the posh one... * OK, possibly some Hipshot Ultralights, but that's pretty much window dressing...

Shipment delayed Looks like all the new Squiers are held up.I blame Boris.

I'd be lying if I didn't say Flea wasn't one of the reasons I picked up a bass in the early 90s. The Blood Sugar Sex Magik album was (and to a degree still is) my bass bible, albeit notable for its lack of slap bass compared to their previous output. Whilst RHCP have completely jumped the shark these days, I'm still a huge fan of their early output and the bass playing on it. Whilst a lot of what he plays isn't that complicated, the speed and energy he plays with made it unlike anything anyone else was doing at the time. Obviously having Chad Smith as your drummer helps a great deal too. I have nothing against slap when it's done well. The problem is that it rarely is! Like a lot of things, it's an easy concept that's hard to master.

Whatever else you say about Yes, no one else has produced a catalogue like it. Gates is a massively original work.

Or, it’s one of the greatest tracks of all time. 😉😁

Thank you Andy for reminding us that not all musicians' wives are idiots. 😎

50 years ago a 4x12 bass cab and 4x12 guitar cab were the same thing. If you run a bass through a 4x12 guitar cab today the result will be the same as running it through a 4x12 bass cab 50 years ago: it won't go as low or as loud as a modern bass 2x12. Next: Why? It's a form factor that hasn't made sense since 50 years ago. If you need more output than what a modern 2x12 can deliver, which isn't likely but that's a different topic, get a pair of 2x12.

EDIT 22/10/2019 As the new v3 firmware launched yesterday I will move the discussion to a new thread and lock this one as much of the information here has been superseded and/or incorporated into the new v3 manual. Thank you to everybody who contributed to discussion here as it helped get me involved in working with Panda and helped shape the manual for the new firmware. __________________________________________ Original post: At the behest of @Al Krow I’m going to start a page which should hopefully serve as a helpful resource for understanding and using the FI and for sharing patches. For the moment, I’ll include an explanation of some of the features in the editor, which I wrote as a PM to @GisserD, I’ll add to this in due course. There is a new editor due out after April so I’ll amend once I’ve had chance to familiarise myself with its enhanced features. If anyone would like me to explain a particular feature then please comment and I’ll do my best to add it below as quickly as possible. I’ll also include a link to patches I’ve created and will add to this as I create new ones. Likewise, if you have useful tips or patches to share then please do! Please give me a “like” or comment if you’ve found this useful. It’ll encourage me to do more! Thanks. __________________________________________ Editor tips: In the VCF/MODULATION section, “Freq Vintage” is the cutoff of the original Deep Impact filter (with its imperfect scaling). “Freq New” is the cutoff of the new, perfectly-scaled FI filter. You can only engage either one or the other. Switching has to be done by the Vintage one though. Set its slider to “off” and it will engage the New one; turn it up and it disables the new one. After reading the manual again, it appears that the number that “freq new” is set to corresponds to the MIDI note number of the same value. That is to say, each increase of 1 corresponds to a semitone. Note 36 (min) is C (65.4Hz), note 122 (max) is D (9397.27Hz). ”Freq 2nd” is the cutoff off a second (bandpass) filter running in parallel. Turning its slider up engages it. You can then space the two filters to create dual-peak, vocal formant- type sounds. An increment increase of 1 provides a one-semitone offset from the main filter. Oddly, this second filter still reacts to envelopes and LFO even if you turn off the main filter with the dial in the top right of the screen. This can yield some interesting results.  In the VCF/ENVELOPE section, “attack” sets how quickly the filter(s) open(s) from cutoff to maximum. “Decay” sets how quickly the filter(s) close(s) from maximum back to the cutoff point. Back to the VCF/MODULATION section, “AD” sets how much the VCF AD envelope will affect the filter cutoff - higher values will open the filter further. “Env. Follower” sets how much your plucking dynamics (bass’s volume envelope) will affect the filter cutoff - again higher values cause the filter to open further. You need to be judicious in balancing the “AD” and “Env. follower” sliders in the above section. If you want a regular, always-the-same-shape, keyboard-style envelope then only use the AD slider. Adding too much of the envelope follower can override the shape of the AD envelope you’ve chosen. A bass’s volume envelope has a reasonably quick rise to maximum and then a longish decay as the note dies out. If you’re trying to program a slow upward filter sweep on the AD, the envelope follower will swamp that. Likewise, if you’re trying to program a very snappy decay on the AD (like acid-type bass sounds), the long decay of the bass’s volume envelope will ruin that if you apply too much envelope follower. “Resonance” controls how much a portion of the signal is fed back into the filter. This boosts the frequencies around the selected cutoff point, thus creating a resonant peak. Turning the resonance to maximum on 24dB mode will cause the filter to self-oscillate, yielding a pure sine wave oscillator. When using a bass guitar, you’ll need to have “bass” turned up in the VCF INPUT section (it needs a trigger and pitch reference). It probably works better when plugging in a keyboard instead as you’ll probably be able to hear just the sine wave. It doesn’t seem to behave at all like it does on analogue synths - changing the cutoff didn’t really enable me to tune it very well. Weirdly it seems to be best in tune when the “freq. vintage” was set to 0. After reading the manual it looks like the new filter will behave correctly (see above under explanation of “freq new”). I’ll have another go and update this page accordingly. The “Slope” knob switches between a 2-pole (12dB per octave) slope and 4-pole (24dB per octave) slope. The latter cuts off the higher frequencies above the cutoff point more rapidly than the former. LFO can be used to control the filter, either on its own or in conjunction with the envelope(s). (LFO can also be used to modulate the oscillators’ pitch.) I like that it has a delay slider too so that the LFO fades in over time. I’ve used that on one of the patches I shared. The LFO can be controlled by MIDI CC #1 and so a foot pedal can be used to bring modulation in and out as desired. What is really cool is that the noise has its own AD envelope (next to the VCF AD envelope sliders). This means you can program a short burst of noise to create a percussive attack even when you’ve programmed a long decaying filter sweep. (Normally noise just goes through the same filter as the other sources so that if you program a long decaying filter sweep, you can hear the noise all the way through. On the FI, you can get the noise to just be present right at the moment of attack and quickly disappear, or conversely, have it silent at the start and then slowly fade in.) I’ve finally figured out how the harmoniser section works! It’s part of the distortion circuit. You need to turn up the “distortion” slider in the INPUT section and (at least one of) the voices in the MIXER section (next to HARMONIZER) in order to hear it. One oddity I’ve found with the FI is as follows: if you’ve edited and saved any of your patch parameters on the actual pedal and you subsequently load new patches into those slots, then the new patches will take on those tweaked values. If that’s not clear what I mean: on the pedal a parameter setting of 5 is the default, i.e. if all parameters are set to 5, the patch will sound exactly like it did when you created it in the editor. Say you make an edit to a patch on the pedal and set its resonance to 9 and save the change by clicking the edit knob; when you load a new patch into that slot, its resonance will be set to 9 also. I realised this quirk when my first patch sounded nothing like it should have sounded. Luckily, setting each parameter back to 5 sorts it out. You can do this for all patches at once from one of the power-on menu settings. EDIT - this was a bug and has been addressed. __________________________________________ Patch transferring Here’s a little pointer that is an answer to a query about how to actually load patches on to the pedal. I know a few people have struggled with this. This is a cut and paste of a reply I wrote on TB: You need to find out which patches you want to load onto the pedal and which slot number in the pedal you want to have it. If you just want to replace one individual patch with another then first find a patch on the pedal that you want to overwrite. Then find the file on your PC of the patch you wish to write to the pedal. Rename this file so that it starts with the two-digit prefix of the slot into which you wish to load it. Open the renamed file again via the editor then click “write single file to pedal” and it will get loaded into that slot. If you want to load multiple files at once onto the pedal then it’s best to create a folder, copy in the PC files you want to load onto the pedal. Then rename each file with the slot numbers you want them to go, choose that folder via the editor then click “write all”. Any blanks will be skipped over and left untouched in the pedal. I’ve gone a step further and have all patches I like in one folder (unnumbered). I then have a different folder into which I placed the 99 patches I want on my pedal at any given time and I number these with the two-digit prefix and write these all at once. If ever I swap any out, I delete the old file from this folder, add the new file and number it and then write all again. Or you could simply have one big folder with all patches you like and then just number the 99 that you want and click write all. Any unnumbered patches will be ignored in the write process. ______________________________________ Patch sharing: (I’ll see if I can create a shared drive like the one on Talkbass) My patches: https://drive.google.com/drive/folders/1C7ZYqsyXkyNuasuuwLrQlICboSsGfXMp TB shared patches (including mine): https://www.dropbox.com/sh/zto20lpne0dnent/AAC6W_8BHeYLrBTjkcoJBzCza?dl=0 __________________________________________ Latest firmware: http://pandamidi.com/support __________________________________________ My v3 sound clips: https://drive.google.com/drive/folders/1u2-dJaWdaAbPDnDdWkipu-P7IH_GHLQ2

Cucumber... or foil wrapped zucchini?

I mean, the Phil Lynott bass is a snip at £11,699. The real value for money offer is the special EVH 1979 Bumblebee Tribute, which is a bargain at only £15,729. https://www.guitarguitar.co.uk/product/190717346254008--evh-1979-bumblebee-tribute-replica-blackyellow I have always wondered what a band featuring Phil Lynott and Eddie Van Halen would have sounded like. Now (just as soon as myself and my brother find an elusive £27,428) we will be able to find out! What a time to be alive.

It's this link. It's under the Support tab.

Jenny is way too wise. ”why do you keep buying different Yamaha’s? Do you think I won’t notice?”