Jakester

Still working on it, closest answer so far is to make sure all of the patches are eq’d at a sound check with the levels adjusted as appropriate - the pedal retains those changes until switched off, so provided you’re not taking everything off stage again it should be fine. Longer term I think it’s going to be a case of literally A/B ing each patch, but I realistically don’t think I’ll have the time to actually do it!

The website's a bit crap, but Woodie's Hangers?

The GK MB combos were really 'the' big DB combo for years, before PJB and Mark Bass came along with their more powerful combos. https://www.gallien-krueger.com/microbass-combos The MB150 has a low cut filter which works well with DB: https://www.gallien-krueger.com/mb-150s112-specs But I think these days if you're looking for lots of volume it's probably not the one.

3/4 is the 'normal' size - 'most' DBs are 3/4 and the bow is supposedly proportioned to it. I'm a relative beginner to DB and ended up with a Hidersine bow from Bass Bags after discussing with them over the phone. My DB-playing friend said it was fine for what I paid, and seems to do the job. If you didn't want to stump up you're welcome to come and give it a try before you go off and buy one.

Not sure why this didn't turn up the first time I searched, but it seems all my answers may be here: https://www.talkbass.com/threads/dean-jeff-berlin-how-many-models.1419448/

Well, wasn't thinking of buying, more interested as to what it was. Obvs if it had have been a typo and it was £149 I might have been interested!

Hmm, it wasn't any of those. I've found it on eBay: https://www.ebay.co.uk/itm/283448454771 That suggests it's a 'European Custom' and made in the Czech Republic. Still, quite an odd one, I'm still struggling to see what (the name aside) makes it worth that asking price...

Two excellent female bass players who I always seek out are Meshell Ndegeocello and Yolanda Charles. Both great players, lovely feel and touch. Well worth digging out tracks with them on - Meshell in particular is a prolific solo artist too.

No idea. It didn't look super whizzy to me. Looked like it has some sort of zebrawood top, but a very satin finish on it - TBH you'd see better on a Cort or Ibanez.

Anyone know anything about these? I saw one in a local shop and I couldn’t figure out whether the price was a typo. Having looked online, I’m still none the wiser. Was there a cheapo and a mega custom Fodera-a-like version or something? The one I saw was nearly £1,500, and from an admittedly cursory glance I couldn’t see where the money went. I wondered whether it was actually £150 and the label had gone awry.

It still looks flesh coloured though…

Just to circle back round to this, I managed to pick up (boom boom - or not!) a Thumpinator which now sits under my pedalboard. Did a gig at the weekend on a hollow stage stood right in front of my amp, and even with it turned up quite high there was nary a hint of feedback, so here's hoping for now it's dealt with this issue. Thanks all for your input.

Thanks - I'm not talking about slight level differences, I mean changing a couple of patches has a massive difference in volume. It's okay to adjust (but because the C4 has mappable controls it's not always the 'level' control that is the volume if using user patches!) but it's that initial blast I'd like to get rid of. I do think it's a question of a bit more manual diving....

Hah, I was there too, and I concluded I was now too old to stand in the crowd for 4 hours! I thought the search was perfunctory at best - I guess I came in later than you as the main standing area was full when I got there. The metal detector bleeped as I went through but they just waved me through. I (unwisely) joked I could have had a machete down my trousers and some bloke turned round nervously and said "but you don't though, do you?" 😂 I regretted not responding "wrong sort of chopper"... 🙄 It was all fine until about the 2nd SP tune when a group of about six forced their way through the crowd and stopped directly in front of us, and a chap was literally butt to groin with me, meaning all I could see was literally the back of his head and his very large ears. Again, I could have put up with that (indeed, some might say I could have got lucky!) but then he started jiggling uncontrollably (I think it was dancing) and stamping on my feet. As I was at the back of the crowd there was a slight lip so I had nowhere backwards to go so ended up joining some of my mates who had already concluded they were too past it and stood off to the side. I always take earplugs to gigs since seeing Therapy? at the Wulfrun and having ringing ears for days afterwards. Great gig though - the sound balance was just incredible, how they got just a clean live sound with such varied instruments was beyond me. Not only was the musicianship outstanding, so were the sound guys. And I loved the close-up cams too - really good if you spent a lot of time looking at the back of someone's head!

Calling all C4ists! Has anyone found an easy way to ensure patch levels are broadly equal (or at or about unity) when switching on? I have some different patches from different sources, and I've tried to map the controls so they're broadly consistent. I've switched to WYSIWYG so ideally there's a 'master' vol which is set broadly the same when activated, but I still get wildly different patch volumes. Should I forget WYSIWYG and try a different method? Any other tips/tricks?

I was really looking forward to coming along, but it's looking like work means I won't now be able to! Have fun everyone.

Thanks both!

TBH I wasn't planning on anything extensive. I had hoped it would be of decent enough quality just to oil, but I think that's out. The boards themselves will be fine for what I was planning, just not very attractive! A bit disappointing - a job lot of offcuts so not much money, but of variable quality! Yep, have plunge saw so will be using that.

Not specifically bass-build related, but I am building a 19" rack unit so close enough I hope not to offend? I hoped to take advantage of the collective wood-whisperer knowledge! Anyway, I've got some 18mm plywood that I'm going to use to build some "studio" furniture for a rack etc. It's not the greatest quality wood - lots of knot voids etc. However, in some parts the outer ply is quite 'splintery' - some of the fibres are coming loose, on the edges particularly. The very edges don't bother me as the sheets are going to be cut down anyway, but where the fibres are lifting in the sheet, is the best way of dealing just to use some epoxy filler, like you would a grain filler? I'm going to have to use some anyway to fill some of the knot holes, so would skimming some over the worst of the splintery bits work?

Yep, I'd say either timbale sticks or perhaps the one on the right is a guiro scraper?

I would always prefer dots over anything else, being someone that learnt via dots. However, one thing to bear in mind is that not all transcribers are equal! I play both bass and drums, and whilst on the whole bass parts are generally okay (aside from the arranger who would routinely put stuff below low E - I ended up just buying a 5-string!) drum parts are a whole other issue, with stuff all over the place because the arranger hadn't done it before, or had just run something off a midi file. I suppose the point is if you know what you're doing then dots are great - if you don't, they can be more hindrance than help.

Ooh, ṩȵëǻǩɏ!