Kev

10 points to anyone who can name last night's venue  

I still remember when the first one came out and thinking it was literally a joke, with that ridiculous knob and video that went along with it.

And now we're three sold out iterations in.  Madness.

The Warwick finish dulls and darkens with use, if they're played hard enough! Sweat stains the finish etc, it's all part of the labour of love that comes with owning a natural oil Warwick.  I found the whole wire wool and wax process rather therapeutic!

Depends how brave you are.

With my old Thumb basses, I would once a year scrub the whole body down with extra fine wire wool to get all the muck and grime off, then reapply the warwick wax all over and leave overnight, before buffing up in the morning to make it look brand new again.

53 minutes ago, fleabag said:

I should add that the tone from the "  Bartolinis "  is wonderful combined with the Bart 3 band preamp.

 

I say " .... "  because the bass  is Indonesian built, so the Mk 2 Barts may not be American.  Or maybe they ARE American but just built under licence because of cheaper labour, but which ever it is,  the tones available are brill.

The MK2's are not built by Bartolini, they are built under license.  Lower output and quite a bit darker than most US made models.

Looks and sounds terrific!

5 minutes ago, admiralchew said:

Sorry, the reference to the Meatball was to show another pedal with good routing options. I’m not aware that any 3 Leaf pedals have any Meatball DNA.

 

I’ve not played the original Meatball, only the FTelettronica version, but the latter at least has send and return.

I'm pretty sure the whole Groove Regulator/Wonderlove/Chromatron series is based on the Meatball, but as said above, could be wrong!  

2 hours ago, admiralchew said:

Given that it’s effectively the deluxe version of the Proton, paying more for the Chromatron seems fair. Each person can decide whether it’s worth it for them to pay the retail price. This is basically moot for the moment though as I don’t think there are immediate plans to make more.

I thought the Proton was a Mutron based circuit, rather than meatball?

1 hour ago, admiralchew said:

I’m not sure to be honest. I seem to recall the Chromatron page stating it was an original design but the page is currently not on the site. The Doom 2 statement was based on not hearing anyone say it’s like anything else and I’ve not come across anything that similar. I would like to try a PWNZOR though, I know that much!

I had a PWNZOR, it was okay.  Noisy and pretty coloured but I didn't dislike it off memory, didn't keep it too long though.

2 hours ago, hiram.k.hackenbacker said:

It is 3 Leaf Audio. It’s exactly as announced on the web site along with links to those auctions.

 Oh...

1 hour ago, admiralchew said:

I think the Chromatron and PWNZOR were original circuits weren’t they? I’m not sure if the Doom 2 is based on anything either. I’m not far enough into circuit design to know where the line is between different circuits though.

I think the Chomatron was just a development of the meatball clone series he did, Groove Regulator, Wonderlove etc?  Might not be though.

No idea about the compressor, but you may well be right with the Doom/2 being an original design?

42 minutes ago, hiram.k.hackenbacker said:

 Whilst I don't expect him to give them away, I find this a bizarre move motivated purely for profit.

 

Surely that's a scalper and can't actually be 3Leaf listing their own pedals for auction?

Zero feedback makes me think it must be, no?  Also, surely if it was 3Leaf themselves, they'd have gone for the first 10 serial numbers or similar, rather than random ones?

20 minutes ago, Daz39 said:

How long 'til DemonFX have a version out for £79...

Given that almost everything Spencer makes are tweaked clones of other circuits, it's probably fair game 😅

Bought an Octabvre and returned it pretty quickly, didn't understand the hype.  Lots of other options at much more favourable price points.

Don't get it really.

I think when the Combustion range was around the £1k mark at the start, that was fair.  At the price they are now...nah, that's a lot of money for a mass produced bass built in the same factory in the far east as a lot of others.  

But, on that logic, that's rules out a hell of a lot of the market at the moment.  Prices have just gone insane.  It doesn't seem long ago people used to laugh at the idea of Warwick basses being £3k new, and now £3k only just buys you a Stingray 🙃

2 hours ago, simisker said:

Remember these? Now not expected until the New Year [2024]

 

I have to admit, I thought these would have been ready - or nearly ready - to ship soon after deposit time, just after the NAMM show in April. These aren't bespoke, after all.

 

Was that naive of me? 🤷‍♂️

I don't understand how or why this happens with big companies.

I understand smaller builders, effectively testing the water and seeing what interest there is before launching a production run based on pre-orders, but Dingwall knew these would sell like hot cakes, so why not just wait until the first run is ready to go before announcing?

Wonderful bass, and will play and sound terrific if it's anything like my Modern 4.  GLWTS!

3 minutes ago, joel406 said:

Just re vamped my QC.

 

Found a Nobel PreAmp capture pack. Like a dozen different Nobel captured. Took out the Darkglass Vintage OD pre and stuck in one of these. Still running the Mesa 400+ amp. 210 Darkglass Neo cab With 212 Darkglass neo IRs. EQ is Hi pass Lo pass and parametric 8. 

 

Excited about the Nobel captures.

Seen a few on the Cloud but where is this pack?  

I've only apparently won 1 day  

Yeah, it's just going to be a matter of trying it and seeing what happens, can't hurt 🙂

Depends how the nut was cut.  I have never needed a new nut going back to EADG from my BEAD basses.  I guess if you had it cut cut for a .145 and you're stringing up with a .095 you may run into issues, but even then, under tension with a good break angle at the headstock, I can only imagine it would be an issue bending notes really quite heavily in the first position, otherwise it'll work just fine.  Just switch the strings and see.

Regarding truss rod, chances are very high that BEAD tuning has less tension than the EADG (the extra G in an average set of strings will have ~10lb extra tension than the missing B) you'll go for, so it'll likely need tightening a touch, and you'll need to look at intonation like you would with any string change, but it should all be easy enough, mostly just fine tuning.

Sounds triffic that, really bitey.

£1,150 these days for a bass of this calibre is bonkers cheap!

Are there any close up shots of the body and the preamp knobs?

Lovely bass!

Are the fretboard inlays stickers or actual inlays?  As if the latter, that would make this a custom shop model  

Once upon a time, there was a bass player named Bob who was convinced that five strings were better than four. He had a beautiful five-string bass that he loved more than anything in the world. He would often lecture his bandmates about the superiority of five-string basses, and he would even refuse to play with anyone who didn't play a five-string.

One day, Bob's band was invited to play at a big gig. Bob was excited, but he was also nervous. He knew that there would be a lot of other musicians at the gig, and he wanted to impress them.

Bob arrived at the gig early and started to set up his gear. He tuned his bass and plugged it into the amp. Then, he started to play a few scales.

As Bob was playing, a man walked up to him. The man was tall and thin, with long hair and a beard. He was carrying a four-string bass.

"Hey," the man said. "I'm Jim. You must be the bass player."

"Yes, I am," Bob said. "My name is Bob."

"It's good to meet you, Bob," Jim said. "I'm impressed with your bass. It's a beautiful instrument."

"Thank you," Bob said. "I'm very proud of it."

"So," Jim said. "You're a five-string bass player, huh?"

"Yes, I am," Bob said. "I believe that five strings are better than four."

"Well," Jim said. "I don't agree with you. But I'm open to hearing your arguments."

Bob was excited to finally have a chance to debate the superiority of five-string basses. He explained to Jim all of the advantages of five-string basses, such as the extended range and the ability to play more complex melodies.

Jim listened patiently to Bob's arguments. When Bob was finished, Jim smiled.

"I see your points," Jim said. "But I still believe that four strings are enough. For me, it's all about the feel of the instrument. I just love the way a four-string bass feels in my hands."

Bob was disappointed, but he respected Jim's opinion.

"Well," Bob said. "I guess we'll just have to agree to disagree."

"Yes," Jim said. "But we can still play some music together, right?"

"Sure," Bob said. "I'd like that."

Bob and Jim played together for the rest of the night. They played all sorts of music, from jazz to rock to blues. They had a great time, and they learned a lot from each other.

At the end of the night, Bob thanked Jim for playing with him.

"It was my pleasure, Bob," Jim said. "I had a great time."

Then, Jim leaned in close and whispered in Bob's ear.

"You know," Jim said. "I think you're a great bass player. Even if you do play a five-string."

Bob smiled.

"Thank you, Jim," he said. "That means a lot."

Bob walked home that night with a new perspective on five-string basses. He realized that it's not the number of strings that matters, but the skill of the player.

25 minutes ago, Woodinblack said:

It is if you need both low and high. There is a song I do where I play below the E, but also on the G above the 15th fret. Obviously I could do that above the 20th fret but then things are starting to get a bit tight. I guess maybe that is what the high C is for, or bite the bullet and play it on the chapman stick (although that only goes down to C)

I guess it's all just preference.  On my Drop B tuned 4, the lowest note I play in a typical set is B0 (open lowest string) and the highest note A3 (17th Fret highest string), which I think is a pretty decent range, a 5 string would give me little more on that front, but again this is because I am comfortable playing beyond the 12th fret, I get why others don't want to.