BigRedX

TBH unless you need the FRFR in order for the audience to hear your bass (you have no PA support for bass) or you regularly play with PA systems that have their foldback optimised primarily for vocals, then you might be better off with an FRFR cab that puts the emphasis on clarity rather than bass so that you can hear yourself without swamping the stage in unnecessary low frequencies.

Any reason why you are not using Reaper for multitrack recording? IMO while Audacity can do multitrack work, it's very much an afterthought and not the program's core strength. Since you are recording via a mixer, if you have a spare channel then route the playback of your DAW to this channel and have it set for output only (i.e. not going back into the computer). This will completely negate the need to have to play with latency settings.

It's not so much a return of the Burns brand as a shift of ownership of the current incarnation (Burns London which has been going since 1992) from Barry Gibson to Andertons. I suspect that the new owners would like the public perception of the brand to be as though nothing has changed. In other news there is a good chance that I'll have the Eastwood version of the Shergold Bass VI some time next week.

Unlike the example in the OP the 5-string versions of the Original in the 80s also had a 36" scale length. Here are the two I use to own: 1983 fretless: and a 1985/6 fretted: Both have now been moved on to other Basschat members.

I'm a Helix FRFR user, and I've stopped taking my FRFR cab (RCF745) to the bigger gigs where I know that the on-stage monitoring will be more than adequate. Even at the smaller gigs these days it's only used as a personal monitor.

Definitely. I take it yours still has the original filter pre-amp?

As I hope I've made clear previously, my problem with "tone wood" for solid electric instruments, is not that different pieces of wood sound different (I'm sure we can all agree that they do, whether or not we agree that their contribution to the overall sound of an electric instrument is fairly negligible), but that a particular tonal characteristic can be universally applied to a particular species of wood and that it is consistently different to other species of wood, and therefore that there is a definite benefit in choosing a wood for its "sound" over it's appearance.

I'm going to have a proper read of this and other PDF you've uploaded over the next few days (although the maths may be beyond my 'A' level from 40 years ago), but just from a quick skim read there are all sorts of problems with the methodology from a scientific PoV, some of which are acknowledged in the study and others which are conveniently overlooked. My biggest problem is the sample size. Two. One of each type of guitar. From a scientific PoV this is statistically meaningless. For there to be any point to "tone wood" for a solid electric instrument, not only do you have to prove that fretboards made of different species of wood sound always significantly different, but also that fretboards made of the same species of wood sound consistently very similar. Everyone knows that it is possible to find two supposedly similar instruments that sound noticeably different. That's an experiment anyone with access to a decent sized music shop can do on a spare half day playing through their stock of Telecasters/Stratocasters/Les Pauls/P-Bases/J-Basses. The other questions I had at this stage are: where was this article originally published? Has it been peer-reviewed and if so what were the findings? There doesn't seem to be any information on either attached to the article which IMO devalues the worth of the findings. Proper scientific studies always need to be independently verified for them to have any validity.

I supposed it depends on what is meant by "learned"? Does it mean the whole song so I could play it as part of a band, or just being able to pick out the main riff? If it's the former it would be "Since You've Been Gone" by Rainbow, which was the first of about 20 songs I learned when I joined a Dad Rock covers band about 10 years ago. Before that I did all my musical learning in the 70s on the guitar rather than the bass, and even then it was little more than being able to strum through the chord progressions in "The Beatles Complete" songbook rather than actually learning the proper guitar parts. Once I'd mastered this I formed a band with some school-mates and we started writing our own songs. By the time I bought a bass guitar (in 1981) this band was already well-established and I just carried on writing bass lines for the songs we were composing, and had no interest in learning how to play songs not written by the band. I learned a few covers in the 80s but that was when I was playing synth... And in the early 2000s I was in a couple of bands that played a mixture of covers and originals, but even then I just wrote my own bass lines rather than learn what was on the recording. To be fair the only things either band kept form the original version were the lyrics and the vocal melody, so even if I had learnt the "proper" bass line it probably wouldn't have worked with what the other instruments were doing. Plus a lot of the time I was only barely aware of the original versions so it was very easy to treat these covers like any other new song idea my band mates had come up with. So if just being able to pick out the main bass riff of a song (but nothing else), it would probably be something like "She's Lost Control" by Joy Division and then it was probably completely by accident, in that I started playing something for a song that we were writing and thought it sounded a bit like another songs so I worked out the rest of the main riff, before discarding it and getting on with writing something of my own instead.

While locking XLRs are fine, I've always found locking jacks to fiddly to unlock. Especially in a hurry.

And just discovered that one of the gigs that had already been moved to next year is moving again. It's a bi-annual event which we were supposed to have been playing this October, but due to the cancellation of April's gig everything had been shunted along so our slot had moved to April 2021. Now it looks as though this year's October date has been postponed and next year's April event is going to be severely reduced. No idea what is going on but we might not be playing until April 2022 now...

Fantastic stuff thanks! My first band (back in the 70s) briefly had a guitarist with a Rapier, 33 I think although I'll need to find the photos to make sure.

Link to the restoration thread please? It sounds interesting.

Our singer has already done one...

The wedding has already been postponed from this year, but I think all the arrangements are still valid for 2021. AFAIK it's not a massively complicated and expensive do. However it will be held in a church. Given that we're a Goth band I would expect half the guests to burst into flames! 😉

Thanks. I have used the Fretless Gus for our cover of "She's In Parties" at a couple of gigs. However it's now been sold to HappyJack.

Just had confirmation that my last remaining gig for this year (another big festival) has been cancelled and moved to a new date next year that our singer can't do because he's getting married.

That's a tricky one. You'd need to devise a method of dropping each block from exactly the same height onto the same surface. I also suspect that the surface they are being dropped onto would have to be chosen so that the act of dropping the wooden blocks onto it doesn't change the surface by damaging it. For me a minimum sample size would be 50. Ideally several hundred.

The Wyn video, as has been said, is a perfect example of the rubbish pseudo-science behind "tone woods" for solid electric instruments. As with all these "experiments" that "prove" the tone wood point, both the methodology and the sample size are scientifically meaningless. The blocks are all different sizes and weights. I could do exactly the same "experiment" and produce completely different results simply by choosing my blocks to give the results I wanted. It needs to be done with multiple examples of each block of wood from each tree species, firstly with them all exactly the same size and then again with them all exactly the same weight. Then there needs to be a good consistency of sound between the blocks of the same species and definite difference between these and all of the blocks of different species. The Michael Tobias example is far more valid. At least he's not blindly (deafly?) choosing his woods on the basis of species alone. It would be interesting to see how the resonance of the body blanks transfers to the tone of the finished bass and if there is any correlation between the "sound" of the blank and the sound of the bass it is made from. It would also be useful for him to make some basses from the blanks that he would normally discard after the tap test and see if they really don't produce a decent sounding bass.

But it is just as likely that: 1. The perception of brightness was purely psychological, brought on by the fact that the bass had new parts on it, after all you weren't able to hear the bass with both necks side by side. 2. Entirely down to the new strings fitted. As I said in a previous post, the brightest sounding of all my basses is the one that has had the strings changed the most recently 3. That the dullness of the previous neck was down to the fact that it was damaged. A new undamaged neck with a rosewood board would have been equally bright and snappy.

How loud is it? Could you do an acoustic gig with it without needing an amp?

Looks like an Eastwood version of an Overwater.

But do they really? There's still no proper scientific testing that shows that even with the wide variation between woods from the same species there is still more consistency of sound within a species than the overall spectrum of sounds from all "tone woods". My position has always been that for solid electric instruments, wood does make a difference, but that it is basically unpredictable and it's contribution to the overall sound of an instrument is fairly low priority.

As before COVI-19 it will depend upon the gig. And looking at videos of the gigs currently going ahead, I don't believe the ambiance would be right for either of my bands to be able to deliver a set worth our's and the audience's time and money.

And here is our 5th thread for this bass...