Kiwi

Graphtec Ghost system.

Slightly OT but...one of my favourite tracks - either as ELP or the original. Chunking along to the bass line on my Alembic graphite is very satisfying, with the neck pickup through the Trace V8+EBS cab and the bridge pickup through the Burman Pro501. (Fun fact - Greg Lakes bass in the video is serial #791300 and mine is #791309). The original (non prog) version is exquisite but good versions are hard to find. There have been a few recordings from the 70's I've heard that seem to play over-majestically and it ends up sounding sleepy.

I've achieved something similar using two amps - one clean and one dirty to keep things fairly articulate. The sound reminded me of the guitarist from Bryan Adam's band - Keith Scott.

What bass are you using with it? I see a status in your avatar but a fender in your signature. Also - did you try before you bought? What kind of music do you play? In my experience, basses with a lot of mids (like Status) or are woolly/scooped sounding (e.g. Smiths) sound more articulate through Class D amps. Vintage type basses like Fenders sound more articulate (and fatter) with US rock-orientated amps, which I'd consider the Boogie to be an example of. Start from that point before fiddling with the eq. or you'll be messing around for ever trying to hear things that the set up can't provide. When it comes to the eq. there are many reasons why you won't get consistent results which others have mentioned above - room acoustics, speaker direction, floor/stage construction, proximity to corners or other reflective surfaces etc. all contribute to very audible differences in tone. If you have reflective surfaces, think about dialling back the volume a bit to clean things up. Finally, the parametric is OK for dealing with room acoustics - use it to knock back frequencies that are too prominent and see if that helps.

I've not used it but I've read around on it in the past. Make sure its properly dried out/seasoned heartwood. Chestnut is great for furniture but takes a long time to dry out. Fodera have used it on tops. If its sweet chestnut heartwood you might not even need to finish it due to the tannins already in the wood but it takes a finish well. Avoid the sap wood apparently.

We have plans for Synthchat after Guitar and Drumchat are set up. It'll be a way off yet though.

I used leathergraft 4" wide padded leather straps and [i]nothing[/i] else. Fantastic product and I can't recommend them highly enough.

Interesting construction. Any chance you could post some soundclips?

Nice box! Apologies for OT but...I wonder if he'd do power scaling on my Burman...?

I'd suggest ditching the graphic eq altogether and go with a parametric eq - much more flexibility and you get to dial into the specific frequencies that match your bass. I have a 4 band valve unit by TL Audio that has been very useful.

You might have to wait a while before either come up for sale. I've been looking for a hexavalve for the last 7 years and haven't found one yet. Twins come up a little more frequently but maybe one every couple of years. I suppose the question in my mind is why you want one of these amps for practice when there are many others that would do the job as well...?

I like the look of only a few single cuts - the Fodera Beez Elite being one and the Adamovic bass is another. So many are poorly executed. Play them because you like the look of a specific bass rather than because of any snake oil benefits or general principle.

[quote name='JTUK' timestamp='1415316299' post='2599259'] Smith is the epitome of 'modern' to me and nothing sounds like them...altho' I've gotten ball park with a Sei Flamboyant. If you want that Smith sound, it just has to be a Smith but if you don't, there isn't really anything else you can do with the bass, IMO. I've gone off signature sounding basses..or rather, all variations of, as I am in the 'Leo got it right with a Jazz' vibe these days... [/quote] Most of the sound comes from the neck (which is deliberately built not to be super stiff but still has a very thick ebony fingerboard for stability) and the pickups which are humbuckers with both coils in parallel. Ironically the closest thing out there in terms of sound at the moment is a Peavey Cirrus but they don't give as much low end richness as the Smiths.

Great thread - I started out on Cubase and found it easy to use. Then when I got back into recording, I switched to Pro Tools as I thought it was an industry standard and struggled with its MIDI functionality. It's just not set up for ease of MIDI use. So I tend to think of it as an audio editor primarily (which is what it is) with some MIDI functionality...but basically get the MIDI into audio ASAP if you want to have an easy life. I've also struggled with Ableton for some reason although maybe I just don't know it very well yet.

Fodera barely make 10% on each instrument. Criticise their price if you need to but their materials and staff benefits (healthcare, pension) costs are a major part of why they cost what they do. Got nothing to do with screwing people over. It's expensive to employ people in New York. Huge difference between Smiths and Foderas in sound and feel BTW. I've had three Smiths.

Depends on the design of the amp and whether you are intending to thrash the proverbial out of it.

Jesus, some of you complaining about the weight need to gig with a Hartke 4.5XL for a while. We're spoiled these days and the Triad was a lightweight for its time.

DPD have a system in place that gives you an hour's warning ahead of their delivery via SMS. I'd be asking questions about why that wasn't in effect.

sh*t that sounds like a bit of a tragedy. I was born in Fareham. You can post stuff in the classifieds if you sign up to either a one off fee or a yearly subscription. The costs are modest.

You can only arrive at a sound that works for you after you understand what influence each part of the signal chain brings to the tone. Strings Wood (or whatever makes up the neck, fingerboard and body) Pickups onboard preamp (effects signal chain which could be any old stuff) preamp power amp speaker(s) room acoustics (including stage resonance) Experience enough variations in each of the above, then you'll know what works. For me to get my sound...through neck with enough wenge tempered by maple or the same spec but bolt on with enough mahogany in the body...some addtional parp around 250hz via a preamp and the rest is gravy.