visog

Burns or Baldwin Neither!

Oh dear... rather puzzled by this shameless money-grab. Not normally Geddy's style. I quite fancy getting hold of the entry-level book: https://www.amazon.co.uk/Geddy-Lees-Beautiful-Book-Bass-ebook/dp/B07GDMJH3K/ref=sr_1_1?s=books&ie=UTF8&qid=1538761240&sr=1-1&keywords=geddy+lee+bass £20 Kindle - bit pointless £50 hardcover - I'm in! Hope he doesn't rag on the Rick as he's tended too. I loved his late '70s/early '80s bass sound.

+1 for me too! Some people just pick up the instrument and blast pretty much from day one without the self-imposed mental burden of having to learn the instrument 'properly' before being able to play music. Mark King was another like SZ... just picked it up and went for it...

With the distortion in the high-band and compression in the low/unaffected tone.. sounds like a very tactile feel to the sound and probably has to be played to be appreciated... Anyone had a go yet? What did you think?

Bit of an odd one but Mike Oldfield can contribute here:

Cakewalk is a fully-featured digital audio workstation (DAW) available free to download from Bandlab: https://www.bandlab.com/products/cakewalk It will do what you want and a whole lot more...

Really! Why? I don't own one myself but I got close a couple of years ago. Went for the Two Notes in a bake off with the Vintage. That said, I think they're very musical distortion pedals...

Isn't that the AO Ultra? https://www.darkglass.com/creations/alpha-omega-ultra/

* shouted in a 'Play Your Cards Right' style, "Higher!" *

New one on me... Seems DG are going multi-band onto what was the BK... YT demo is pretty brutal... in good way. Come on now DG, time for that multi-effects board now?

Wow! That's some collection... could do with a Rumour in there too!

It's ironic that paying for a service means you're more likely to commit to doing it. We could all write an hour practice schedule of technique, reading, transcription and improvisation to do every day for six months, and we would all be materially better bassists and musicians... but we wont. We'll moan about it on Basschat instead... mocked by our own procrastination... I disgust me.

Oh come on! BGM wasn't that bad!

Been covered elsewhere on the Forum but it's a sign of the times... 30 years ago when it launched, you could take a train to Wapping and go to the Bass Centre's department store for bass... And probably bump into a 'name' whilst you were in there. All of that has gone, Mark Kind is not a regular fixture on Top of the Pops. Likewise the Internet has all the information you used to get in BP for free and its better - without the advertorial bias that mired the magazine for years. No whiff of Fender negativity in those pages! Also, it hasn't even been a good read for years...

Dunno - not played one. I just remember the 90s search for a good 'B' and help extended scales give to that...

Clanktastic...

Polished!? Production isn't... agree the song-batch is though... amazing record.

Very nice rig... as well as price, any news on 5/6 strings? (Not that much point in a 4-multi-scale? <*Bracing for impact*>)

Hmmm I can rationalise Steve Howe as being 'scrappy' and well as very good. I've never seen a guitar player use such consistently active parts all over the neck across an entire song-book. Which brings me to the elephant in the room as regards us bass players which is that I contend that Trevor Rabin's song writing and guitar-led arrangements with a lot of 80s power-chording left little room for Squire's glorious tone and counterpoint that worked so well with SH's active parts... Just saying. Would have preferred it if the 80s line-up had gone forward as 'Cinema' as originally intended, leaving Yes be.

'Best' is the problematic term here as it's so broad. With a bass as purely an object, the brands cited, whilst I agree are amazing (though I've not played them all myself). However with a bass as a tool, the brands mentioned would largely be redundant or at least over-specified for say 'Rock' as a style for example. I think we may have narrowed down the field for Jazz fusion maybe but the brands listed here - Fodera, Alembics, Wal to name a few repeated, are largely ignored in many styles. Yes, we can think of exceptions. I guess it depends on whether a bass is a object or a tool...

I have the GT-1B and it's a mixed bag - not sure how it compares directly with the B3n (which may suffer from the same issues) but pros/cons: Delays and modulations - good Synths and tracking patches - glitchy to the point of unusable Octave and tone altering patches track much better Amp models - bass ones good BUT any high-gain ones start to get noisy and uncontrollable quickly Compressors - ok if used very subtlety - any more and they become clothy - some suffer from the gain introduction above Overdrives - same problem of gain and noise It does have good software for adjusting all these parameters but my unit whistles when connected to the PC. (A USB filter did not solve the problem.) Up-shot is, chaining even a few effects gives you multiple EQ points and gains so that controlling your end signal becomes a challenge. Also, Boss do not seem to promote it on their Tone Central sharing portal with only three 'artists' patch libraries shared - and only a few of these are any good. Perhaps B3N users would comment by way of a comparison?...

Ugh, this isn't GuitarChat. And this has been done before... And EVH himself has never claimed to have invented it. He credits Steve Hackett whom he saw do it...

Might be a Rob Armstrong but not the model in the link above. Has almost a reverse firebird body shape in this screen grab:

This isn't strictly an acoustic but maybe worth adding at this point:

Looks great! Could well become a better bass than it was...