BigRedX

I knew that was going to be a Musicvox before I even clicked the link. And guitar-sized machine heads are perfectly adequate. It doesn't have to be a chunky and clunky as a Fender to work you know.

[quote name='RhysP' timestamp='1470398772' post='3105734'] I've wondered about that too, at the time I can't remember anyone loving the Juno stuff, they were pretty weedy sounding. [/quote] I know plenty of people who owned them back in the day, but as far as I can recall not a single one of them bought one for any reason other than the fact they were the cheapest polysynth available. The only advantage I could see was the high-pass filter could allow your sounds to cut through a guitar-biased mix by reducing the overall bassiness of the sound. I've never been a fan of single oscillator and envelope generator synths. They are simply not versatile enough. When I bought my first mono synth I compromised on playability and interface options by getting an EDP Wasp simply because the sonic possibilities were far superior over ever other synth in the same price range.

[quote name='Alec' timestamp='1470319034' post='3105074'] If it's a kettle lead, then you'll need a 13A fuse, as most kettles are around 2,500W, and so will draw more or less the full 13A. If, as others have observed, it's an IEC lead (as it will be for supplying kit), then all of the previous posts make it clear that IEC connectors have a 10A rating, but may be fused at 13A. And, in practice, that makes the most sense for a generic set of IEC leads. After all, they will be swapped between different bits of kit, which puts lower fuse ratings at much more risk of being blown. [/quote] /Thread. There you go. That's the definitive answer. If you want to go and do something else based on previous experience that's fair enough, but the above is the correct information.

When I joined a covers band they were doing several Thin Lizzy songs, and the band neglected to tell me that they played them a semitone up to avoid having to retune. I learnt them all by ear from the CDs which meant that the next rehearsal was "interesting". TBH I didn't find any of the songs particularly taxing in it's original recorded pitch on a 5-string bass tuned to standard and at least one of them was actually slightly easier compared with playing it a semitone up.

[quote name='blablas' timestamp='1470259079' post='3104629'] Neither, it says Made in China on the back of the headstock. [/quote] Interesting. Your photo made it look as though it has the Pro Series arched top. IIRC the Rockbass version is supposed to be flat?

[quote name='blablas' timestamp='1470251473' post='3104525'] My new Warwick toy. [/quote] Very nice. Is that one of the old MiK models or a new MiG one?

[quote name='gs_triumph' timestamp='1470242312' post='3104438'] I too was a remain voter but that horse has bolted... One good thing I think can come of it is that home produced goods will become more attractively priced versus their imported (tariffed) counterparts. People might decide to buy a UK produced custom bass over a US built example. [/quote] Unfortunately it will only work out cheaper if all the materials and components are also UK produced. Anything that has to be imported will bump up the price.

Plenty of light controlled opto-compresssors too.

All this talk of whether or not to use compression is fairly pointless because: 1. If you drive any part of your audio chain hard you are compressing the signal. 2. If you use valves in any part of your audio chain you are compressing the signal. 3. If you use any kind of drive/distortion/fuzz in your audio chain you are compressing the signal. 4. And don't forget that at all but the quietest of acoustic gigs the audiences ears will be adding their own compression.

[quote name='HowieBass' timestamp='1470176351' post='3103938'] The set of five videos with (presumably) experienced synth players (eg Neil Davidge) all seemed to indicate it sounded fantastic with comments such as it sounding like a cross between a Juno and an Oberheim. [/quote] Why do musicians now salivate over the Juno sound? Back in the early 80s when these were new no one would have bought a Juno if they could have afforded a Jupiter or a Prophet 5.

Fall in the value of the Pound due to the recent EU referendum vote.

Gus GAS!

Nothing shallow about wanting stuff that looks good as well as being functional.

[quote name='ikay' timestamp='1470126747' post='3103346'] Wonder how the battery-less version works? [/quote] In theory with an appropriately sensitive light source it could be possible to drive it directly from the voltage generated by the pickups. I would imagine that there would still be a power source needed at the receiving end to amplify these signals but that could be provided by a mains PSU.

Gibson did make a long-scale version of the EB3. Have a look at [url=http://www.flyguitars.com/gibson/bass/EB3.php]Fly Guitars[/url] for more details including models with two completely different pickup positions.

[quote name='AndyTravis' timestamp='1469881823' post='3101733'] Microfrets is my thought... [/quote] Even before the reveal I could have told you it's not a Microfrets as it doesn't have the adjustable intonation nut that all their instruments sported.

It's just a tool. Sometimes you need it. Sometimes you don't. The trick is to know when.

I'd quite like that if it didn't look so horribly fake.

[quote name='TrevorR' timestamp='1469736549' post='3100807'] I'd vote for the combination of a P bass and a band saw... [/quote] You're probably right, although I think they were probably inspired by the La Baye 4x2 guitar and bass.

[quote name='Twincam' timestamp='1469661123' post='3100218'] Why not just have a switch fitted you can flip and leave the jack in. That is what I would do. [/quote] My Sei has LED side dots that are activated by a switch. The pre-amp battery gets changed once a year whether it needs to or not. I have the change the LED battery far more often because I forget to turn them off even though it's a lot more obvious that they are switched on than the pre-amp.

It's a balalaika.

I've just done a quick count of mine as I've had a bit of tidy up and they are all in one place and I have the following: 4 Hiscox bass cases (one branded Fretking, the others plain) 1 Hiscox guitar case 1 SBK rectangular bass case (branded Warrior) 1 Warwick flight case (StarBass size) 1 5-star semi-flight case 1 Hallmark rectangular alligator skin effect hard case (For a Hallmark Wingbat guitar) 1 generic guitar-sized rectangular hard case 1 Burns hard case from the 1960s 1 home-made guitar-sized rectangular hard case 1 Mono M80 gig bag 1 Warwick gig bag (StarBass size) 1 generic bass sized padded gig bag 1 Tokai branded gig bag for a Talbo Jr guitar 1 Fernades branded gig bag for a Pie-zo bass And that's about half the number of cases I had a couple of years ago! IME the majority of branded gig bags that come with guitars and basses when you buy them are pretty much useless for protecting the instrument they were designed to hold. Out of all the ones I've had (and it's been a lot) the only half-way decent one was the one that came with my Lightwave Sabre bass. The rest offered little more protection than a bin-bag and some didn't even have good enough straps to be any use for carrying a bass or guitar on your back! The Mono gig bag offers a decent amount of protection but it's about the same size as a Hiscox case and almost as heavy.

Battery life very much depends on the circuit. Generally speaking the more modern the pre-amp the longer the battery will last. As an example when I was using my mid-80s Overwater as my main bass the battery would last just over a month for about an hours worth of playing time a day. Also the sound would noticeably degrade when the battery was near the end of its life. These days I don't play my more modern active bass as much - probably only 3-4 hours a week, but changing the batteries once a year means I never run out of power. Having said that I always unplug my basses when I'm not playing them.

[quote name='SubsonicSimpleton' timestamp='1469629389' post='3099875'] Ultimately what is more important, the notes you play(and the way you play them) or the instrument you play them on? [/quote] If you play live and put on a show, then both factors are equally important IMO.

You don't need to bounce the tracks once you've split them into separate regions in Logic. Somewhere in the Audio Bin window there is a command that will make a new file from a region and as it happens off-line it's faster than real-time. Simply select the region you want and apply the command. You do have to do it individually per region, otherwise it combines all your regions into a single file with silence in-between. There is also a box you can tick when you do this that replaces the region with the new individual file in the Audio Bin. Then when you've made all you new files which should only take a few seconds per region, you can select them all and convert them to MP3s. If you also create keyboard shortcuts for the 2 commands you should be able to breeze through the process. Sorry I can't be more specific about the exact commands but I've recently upgrade my Mac and haven't go around to re-installing Logic on it yet.