Kiwi

[quote name='aende' timestamp='1372489098' post='2126285'] Hopefully my gear is still on the house insurance! Anyone got any deals or good policy advice? [/quote] Are you sure your insurance covers you when you are gigging? I've had three or four different companies and none of them have in the UK. If not, you'll need to get separate insurance.

Fender also manufactured product and won market saturation at a time when baby boomers were redefining western culture through music. My 75 jazz sounds good, but so do my other basses. The Fender also sounds familiar and I suggest familiar doesn't make it better. Bring back the 70's and 80's I say, that was a period when there was a sense of adventure and originality in bass guitar tastes (or fashion). All this 'they got it right' is nothing more than post rationalisation for what sounds familiar IMO. Stick any bass, including Rickenbacker, in the same position of having achieved market saturation and the CEO of that company would be proclaimed a genius for having 'got it right'.

[quote name='White Cloud' timestamp='1372279537' post='2123856'] This the sound of a Wal! [media]http://youtu.be/WQgu0MpnKq8[/media] [/quote] [url="http://www.youtube.com/watch?v=odwndhacnqY"]http://www.youtube.com/watch?v=odwndhacnqY[/url] This clip is probably a bit less produced. .

[quote name='Dingus' timestamp='1372016117' post='2120719'] Wal basses do indeed have their own very distinctive sound , largely due , I suspect , to their unique electronics . Within that distinctive sound there are many highly usable tones , but all with that beefy signature Wal sound . [/quote] Having compared and contrasted a number of Wals including customs in four and five string formats and Pro 1 passives in a single sitting, I think its the pickups. Its definitely NOT the wood because I got a remarkably consistent amplified sound across different woods, [quote name='Dingus' timestamp='1372016117' post='2120719'] Very few ( if any ) basses will substitute for a Wal . Some basses capture certain elements of the Wal sound - an HH Musicman Bongo , whilst being totally different in most repects , has certain chacteristics in the bottom end and midrange that remind me of a Wal , for example - but for the most part , you need a Wal . [/quote] Smith BSR through necks and Wals sound very similar, the Wals are a little more versatile however and a touch brighter. With the Smiths, its mostly the neck wood and to some degree the pickups though. Bongos sound similar too but a little darker.

Have been thinking about this myself but its not exactly easy to get to on public transport. Will probably need to leave early too.

I think he's a musical genius. Would have bitten off my right arm to go and see something like that in London. At the moment the only opportunity is the BST concert in Hyde Park and tickets for that are 60 quid! Chic are the only act that day that I would really see.

[quote name='Dingus' timestamp='1371752079' post='2117775'] They made him a bass , but I don't think it was a signature model , strictly speaking . [/quote] They made a number of prototypes and Geezer played a few on stage for a number of years meaning if anyone wanted a version they could order it. I'm not aware that there was significant demand though. So if by signature model you mean they put it into production, then no strictly speaking it wasn't a signature model but Jaydee don't have a production line to speak of either. Howwever if you asked John Diggins tomorrow to make you one, I'm confident he would.

Jaydee did a signature Geezer model.

To be completely honest, someone else should take credit. [url="http://basschat.co.uk/topic/206578-pangborn-on-gumtree/page__p__2066360__hl__pangborn__fromsearch__1#entry2066360"]http://basschat.co.uk/topic/206578-pangborn-on-gumtree/page__p__2066360__hl__pangborn__fromsearch__1#entry2066360[/url]

[quote name='skankdelvar' timestamp='1371562236' post='2115544'] Sign me up. I am a strong-limbed son of the Empire and I've got my own hat. [size=3]BassChat colonists at Pedkiwi hill-station 1898[/size] [/quote] Marvellous Good Sir, and do you also: 1) Have references from the highest authorities of somewhere in the colonies I've never heard of but will nevertheless have to accept your word on or risk personal affront? 2) An equally tenuous personal connection? For example, a distant relative who knows the uncle of someone who worked with someone in India who went to the same public school as my second cousin's sister in law? 3) Share a common interest that we might otherwise indulge in rather than doing anything productive? For example, taking the Pith?

The lack of a decent guitar forum is something we've been aware of for some time. The Jem site seems popular too. Most forums go through a fragile stage while they establish their own member base. So the more folks from here who can colonise both and make them pleasant and nonthreatening places to visit the better. It'll mean that fragile stage is made as short as possible. It will be interesting to watch how the membership expands too and I expect we might also need to find some mods at some point...!

[quote name='Happy Jack' timestamp='1371400861' post='2113387'] You have a problem with Rachmaninov? [/quote] If he's playing disco, you bet.

Good luck with that - maybe the Armstrongs designed the Aguilars too!

[quote name='pantherairsoft' timestamp='1371378915' post='2113061'] Kiwi. The Arpeggiator, IMO is the weakest part of the pedal, and my least used part of the pedal, while it has some flexibility it is not 'fully programmable'. I have used it live on a couple of tunes and fed it some fuzz/filter synth combo's with no problem. I've done no MIDI cc work with the pedal at all though so can't comment either way, I just don't use MIDI like that. It seems pretty damn bang on for MIDI clock though, more accurate than most. Aside the arpeggiator i don't use the synth section too much. It's great, but oddly labelled... It's basically an organ simulator with some nice effects. The sounds i consider to be 'synth' are accessible in the Octave section. As for the input/guitar thing. I'm not so sure. Maybe in original conception, but since you can change the input to 'bass' &/or 'synth bass' in the menu (and I have noticed a difference to the response in doing so) I'd argue that it's been built with a range of applications in mind. Plus, one of the DSP engineers at Eventide (Russ) is a bass player, so it was designed with bass players in mind to some level. [/quote] I'd suggest Russ needs more influence! The point I made to Eventide about this pedal was that is has so much potential as a stand-alone synth bass pedal for bassists. The synthbass patches are a little weedy sounding compared to the Deep Impact but it tracks just as well if not better and it has more waveforms available. I like the octaver too, it also tracks really well and the chorus patches are very clear. As a (former) gigging player I don't need to be "creatively inspired" by shimmery stuff, harmonising and psychedelic warping. If they cut all that out it would make more room for bass synth and arpeggiator functionality. I believe improving how the waveforms sound would make this pedal a Deep Impact beater by itself - add to that full arpeggiator programmability and I'm convinced would redefine the standards for synthbass pedals. As it stands maybe they're trying to please everyone Shep. But I've made my points to them already so it's their choice over whether to realise the potential of the technology specifically for bassists. All it might need is a software update!

[quote name='discreet' timestamp='1371417820' post='2113756'] AAARRRGGGHHHHHHH!!! NOOOOOO!! [/quote] >:-)

[quote name='White Cloud' timestamp='1371336289' post='2112796'] There is no absolute decree that these rules MUST be adhered to. [/quote] I agree, but they DO exist. [quote name='Count Bassy' timestamp='1371337219' post='2112808']. Surely the whole point it is [u][b]his[/b][/u] signature bass, and as such it's not for anyone else to tell him what it should be like. [/quote] I'd suggest the whole point for Warwick is to sell basses to the public in whatever way possible. And if that doesn't happen, at least get forums chatting about it just for the profile if nothing else. You're all playing The Game BTW.

Hi Enzo - of course and I agree to an extent. I'm sharing my experiences of having installed a pair of Aaron's pickups in my own Celinder J Update. I was very happy with them - they sound better than the authentic article to be honest. Funny thing is that Aaron and his father Kent have been making and designing pickups for some of the worlds most renowned bass brands since the 70's - Smith Basses and Status for example. They probably sell more under other names than they do under their own. I've tried the SD Antiquity in a Geddy Lee jazz and didn't rate them. [size=4]I'd put money on Aguilar having approached a company and commission a pickup in a similar way to be sold under their brand in the same way that the Armstrongs have been approached.[/size]

Er...maybe not. If I was writing the set list, I would have removed everything with strings in it and everything that that was less than 100bpm. And I would have chucked in a few modern club remixes. At the moment it looks like the set list has been chosen by a classically trained pianist.

Oh blimey - that might be just up my alley. I'll have a look at their set list.

[quote name='cloudburst' timestamp='1371389430' post='2113204'] The Basschat marketplace used to be really vibrant. Some really interesting stuff came up pretty much every day, giving the site a real constant "draw". It seems now that this consistent trading has pretty much died off. Has anyone noticed this? Is it just me? Are there any other sites (apart from Talkbass) that still have an interesting marketplace? CB [/quote] Clearly we're suffering from the lack of Rickenbacker content. Oh well.

Blimey - how ambitious is that! It'll be interesting the watch the outcome of this.

[quote name='MarkBassChat' timestamp='1371226491' post='2111465'] Switching from 9V to 18V does not provide any extra boost. It provides only some more headroom which is not the same as extra boost. So switching from 9V to 18V does not make much difference/sense. Mark [/quote] This. 18v means you just get clearer peaks...i.e. more headroom, not more boost. So think of it as more hi-fi if you like. Not more powerful.

[quote name='Enzo' timestamp='1371356505' post='2112864'] No, they are called '70s wind because they are supposedly put together to be similar to those years [url="http://www.nordstrandpickups.com/bass-pickups/index.shtml"]http://www.nordstran...ups/index.shtml[/url] We'll see... [/quote] Aaron Armstrong will do you something similar and with more warmth than the 70's originals.

Homer does H&S for a living. Might be worth tapping him up for some advice too?

[color=#282828][font=helvetica, arial, sans-serif]I bought this pedal used off Ebay for $400. I gave up trying to find one for less after looking for a long time but you can find them for as little as US$320 if you're lucky.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]As always with complicated bits of technology, I refuse to read the manual citing the quality of the user interface as being the best way to judge the thought and consideration that went into the design of the kit. So I powered up and predictably I got totally lost...mainly because the function of the knobs changes with the mode its in. [/font][/color][color=#282828][font=helvetica, arial, sans-serif]It's a very, very complicated (sophisticated?) beast across all the modes and focusing on one mode at a time definitely helps to understand the unit more quickly and thoroughly rather than just diving in and learning iteratively. [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]There are various pitchshifty, tinkley and whoopy doo dah settings but I was most interested in the arpeggiator. I did a bit of knob twiddling just to see what might happen and got various changes from the unit which didn't lead to any greater level of understanding. [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]So I finally caved into common sense and opened up the quick start guide and it made a few suggestions to simplify matters a bit which I followed. [/font][/color][color=#282828][font=helvetica, arial, sans-serif]After an hour of mucking around I managed to get a pretty good grasp of what the Arp settings on the knobs do. Its quite old school in how the tones are generated and manipulated in that there are various generators of sound that are then modified for rhythm, attack, timing and speed.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]You have a choice of two arpeggiators, you can add a LFO, filters and waveforms. The best approach to take is to set a pitch shifting pattern (up, down, up and down, and endless more random variations on that theme) and modify it with a filter which sort of chops the swoop up into distinct sections that are either voiced or muted according to the pattern selected.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]I like how the knobs allow real time adjustment. I like how a more contemporary approach has been taken to the use of LFO's and filters. However I couldn't help but think that Eventide might have been better off with a series of LCD displays under the knobs so that their change in function could be interpreted more easily. Eventide already use LCD displays in their avionics products too so potentially have access to the expertise.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]The quality of the sound is something I'm still zoning in on. The processed dry signal did sound a little sterile with bass. The Deep Impact works with it and the arpeggiation was pretty neat, especially with tap. Ideally I would prefer to have one tap button for sending tempo info to everything so may have to look into MIDI patching with the PF in a little more detail.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]I guess the biggest issue I have is that the pedal is way too complicated for a tool. I don't buy into the inspiration thing or the musical dream, I just need the kit to do a job. This is one of the strengths of the Deep Impact pedal. Its not the most versatile pedal but what it can do, it does very well. [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]So I can't help that while the pedal is appears very robust, is fairly well engineered and capable of doing things with pitch shifting that would make you hope your Boss PS5 was over 16 and came from a liberated family; the marketing behind the pedal seems unfocused. [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]If the pedal is for tweakers, it might be better to release it with USB software interface to permit better access to the various parameters and time efficient mucking about. If it is for serious musicians, I think the pedal needs a heavy dose of rationalisation. Otherwise I think it risks being seen as an over priced toy for bedroom musicians rather than a serious tool for gigging pros. [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]I wanted it to do the arpeggiated bassline from Georgio Moroder/Donna Summer's "I Feel Love". Unfortunately there wasn't a preset that offered the right pitching, so i'll have to investigate how to create the right pitching as a user preset. However the 1/16th note rhythm pattern was. So I mucked about with that for a bit instead. Acccording to the Eventide forum, the pedal's arpeggiator function CAN be programmed but only via the MIDI port using cc messages. This isn't convenient for most musicians and to be honest, its just suggests that Eventide don't know the market for this pedal beyond a very limited demographic.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]I[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]like the pedal but can't help but think that if it was less complicated and focussed on applications that had been done in songs we all might know, the pedal might have broader and more pragmatic appeal.[/font][/color]