Kiwi

Now my custom mixer and Alembic power supply is finished, I've got the parts left over from the Fostex Hexamix 4 channel mixer to give away. It includes assorted pots, switches, 1/4" phono sockets, fader sliders (all chassis mounted), tall plastic control knobs, and the chassis from the mixer itself. If there's something in particular you'd liked photographed, let me know.

LMAO Love ur nick JLP!

I've seen some of them pop up on Ebay recently. Seem to be very good value.

you're welcome - a happy ending is what counts

'K, have fun!

Can you post any sound samples?

[quote name='OldGit' post='10917' date='Jun 2 2007, 09:19 AM']Why would he want to stop them?
[/quote]

LMAO why would he want to [i]encourage[/i] them?!

Give Chris Minh Doky some consideration too. Lovely chap and he's based in Denmark.

[quote name='OldGit' post='10904' date='Jun 2 2007, 08:29 AM']Do I still need to do that if I'm wearing my Anti-Alien mind reading hat?
[/quote]

Blimey, if thats what he does for mind reading, I shudder at the thought of how he stops their anal probes.

I think the notes you've shown shift from bass part to chords and back to bass part in places. I've copied some chords from [url="http://www.ultimate-guitar.com/tabs/s/stevie_wonder/as_crd.htm"]http://www.ultimate-guitar.com/tabs/s/stev...nder/as_crd.htm[/url]

I think you'll notice that in the section we've been discussing, they suggest its an F9 the first time around which introduces a much richer tension than using the Eb.


Chorus 1:

G#m______D#7/A#________B___________C#
(Until the rainbow burns the stars out in the sky)
Always

G#m______D#7/A#________B___________C#
(Until the ocean covers every mountain high)
Always

G#m______D#7/A#_________B__________C#
(Until the dolphin flies and parrots live at sea)

G#m______D#7/A#______B__________[1: F9; to bridge][others: C#]
Always
(Until we dream of life and life becomes a dream)

[quote name='kakkoiidan' post='10885' date='Jun 2 2007, 02:49 AM']So Tanc, ignore the crap, don't leave, it won't help. Theres loads of interesting stuff to look at on here, it'd be a shame to miss out on all of this for the sake of this one thread.kd[/quote]

Tanc's an experienced member of Bassworld, she's encountered this sort of thing before and has dealt with it adroitly.

All I'm going to ask is that people treat each other with a little respect, which I'm guessing is what Tanc is seeking. Lets keep this forum a broadly based and inclusive community after all, its about the bass isn't it?

[quote name='Davemarks' post='10792' date='Jun 1 2007, 09:31 PM']Ladies of the forum please come and deliver us your horror stories, to provide us with a little more perspective...[/quote]

Great idea Dave and thanks for your input!

I'm not altogether sure what you mean by 'a 4th' since you've not actually stated what chord you're hearing. But assuming we're talking about the same place, it definitely sounds to me like there's a semitone shift on the last two beats just before it goes back into the verse.

On my second listen it actually sounds more like the bass shifts down from an F to an E. But you could play an Eb and it wouldn't hurt the song much. I can't hear an A at all and such a simple harmony would dull the colour in the rest of the harmonies somewhat. How he manages to write such rich harmonies and then gets lost in the groove I don't know. The guy's a incredible musician.

When I played this track in my own band, I had more trouble with the passage at the end of the first verse. Neither the Musical Director nor I could pin that one down and I ended up having to wing it. (Although the girls ended up hating the song and we dropped it before performing it live). Now I've got a decent set of studio monitors to listen to the tracks through, its a lot easier to pick the changes and I know now that the bass was actually a lot simpler harmonically than the MD wanted me to play! (No wonder I kept stuffing it up eh? Bloody keyboardists. )

If you're going to shift +1 octave you'd be best off putting the shifted path through some kind of eq to take the tinniness off the sound and boost the mids a little to make it sound more natural.

I've created a uni-bass patch on my MPX-G2 that I only *just* managed to get right after about 12 months of messing about with signal paths, eq settings and routing. It's a load more convincing when I eq the dry signal path to give the bass more at 2.5-3.5 Khz (depending on the bass I'm using) and 120Hz leaving the distorted, shifted signal with nothing below 250Hz and nothing above about 1Khz with a slight peak somewhere between 500 or 600Hz. It all fits together nicely in terms of the frequency spectrum and both paths can be heard clearly.

Can you describe the interference a little more? Is it hum or crackle?

you got that right!

welcome back!

Hi Will

Good to see my Sonic Hammer staying in the family and welcome back!

There's an Eb half tone which comes in on the lyric 'dream' and leads back into the E¦B pattern. Is that the bit you're after? Its a passing note too, so don't get too hung up on how it fits into the key.

Hi ngombe, thanks for the kind words and WELCOME!

How do you know the differences are not down to other factors such as neck tension?

'Ave it!!

[quote name='BB2000' post='10399' date='Jun 1 2007, 09:39 AM']They can leave a bad imprint on the instrument finish around the edge of the guard, which can't be removed.[/quote]

A bit of a rub down with wet and dry will sort that out.

can you not take the body guard [i]off[/i]?

[quote name='bassjamm' post='10281' date='May 31 2007, 11:29 PM']A platent plug here...but i've got my Ken Smith BSRB Deluxe 5 up for grabs if you're interested?[/quote]

Very, very few ever made in that charcoal finish too, according to Ken. Someone on the Smith forum has the 6 string version.

[quote name='pete.young' post='10138' date='May 31 2007, 08:09 PM']Um. My Burman guitar combo has exactly the same transformers as my Burman bass head, and they both
definitly cut it when it comes to 5 string basses. Generalise at your own risk.[/quote]

LOL, you beat me to it!