JapanAxe

Still seems to be happening. Was GASing after a PF500, but fixation now transferred to [color=#282828][font=helvetica, arial, sans-serif] [/font][/color][color=#282828][font=helvetica, arial, sans-serif]SVT PRO7. Still light at 7kg, just need a lightweight ABS or soft fabric rack case. [/font][/color]

[quote name='Lozz196' timestamp='1378617681' post='2202396'] When I had a Classic 450 my impressions were much the same as above. Put it on 3 or 4 to even out the dynamics a bit, and just leave it there. It really didn`t sound compressed at all to me, until you turned it off and could hear then what it wasn`t doing, if that makes sense? [/quote] This. With the Spectracomp at 5, you hit the strings harder but it doesn't get louder. Good for some things, not for others. [quote name='Paul S' timestamp='1378631205' post='2202500'] It is (one of) the reason(s) I use my TC Electronics Classic 450 over my Genz Benz Streamliner 600. The other being the Tubetone, which I find much easier to control on the fly than the double gain thing on the GB. [/quote] And this! strangely I have been hankering after a Streamliner 600 since auditioning basses through one a the Gallery, but yes the joy of the Tubetone is you can just 'add it in' rather than having to juggle gain and master volume. I was practising some indie/punk stuff yesterday and the tone wasn't quite there, so I notched up the Tubetone from 3 (vintage-sounding but not noticeably driven) to 5, and there it was. I bought the Classic 450 on a bit of a whim, but I have yet to find anything with a feature set that suits me better.

Reading the description, 'free economy delivery' actually means 'collection, or courier at buyer's expense'. Redruth is a long way from most places in the UK', hence no feeding frenzy.

My bass player (yes I meant to say that!) has a large back room with a drum kit (with practice pads/dampers), about 5 amplifiers (including a lovely Torres), and studio monitors that we can sing through, so the 3 of us can just about get in there to rehearse. Setup time for drummer and me = 2 minutes, during which time the bass player makes us a brew. Oh and his neighbours through the party wall are old an deaf.

Everyone's missed the point here - 'Fender wooden' is pronounced 'Woolworths plywood'.

Wow! Thread resurrection after nearly 2 years! So how has it been for you HJ?

I have a pair of Rokit RP6 (version 1), and the useable bass is very good - so much so that I can play my TD3 kit through them and hear the kick drum at a reasonable level without them blowing up. I considered RP8s at the time, but for the difference in low end I decided against the extra outlay.

I follow guidance I got from Fender's website years ago. Install the string at the bridge, lay it flat to the tuning post, measure the following distance past that post, cut string at that point, then complete fitting in the usual way: G/D/A - 4.5in E - 4in B - 3.5in Works for me.

Or blank off the hole with a plug of some kind. Maplin do black plastic blanking plugs in various diameters.

I generally leave it set at 3/10. If you turn it up too high then obviously you lose dynamic range, but that's the case with any compressor. It's pretty much 'set and forget', which is meant as a compliment.

All you need to do now is fit a set of alloys to your pedalboard and drive it around the town centre late at night.

Money: It's only right to be rewarded for the time, effort, and skill that goes into a live performance. I am fortunate that my day job gives me a comfortable living, so gig money funds my GAS. Even so I look for a reasonable fee - why encourage venues to devalue what we do? Rehearsing: I turn up at a rehearsal having spent time getting to know my parts, and I don't think it's unreasonable to expect others to do the same. My band had a 2-hour rehearsal on Tuesday, went through 6 new numbers, and discarded a 7th that didn't work. All 6 numbers are in our next set list. I love that kind of rehearsal. What I can't stand is going over and over the same old stuff, and hearing players make the same mistakes because they have never sat down at home and sorted out where they are going wrong.

I've now made a couple of other discoveries about Mac Audio MIDI Setup (AMS) that have made me re-think my requirements. (1) I was wrong about what AMS does - the 'preferences' you select for each connected device don't actually apply any filters, you just use them to describe the settings you've made on the devices themselves. You would need something like Clockworks to actually apply filters. (2) Although AMS is good for managing the MIDI data that is coming in and out of computer, it does not provide a way to route, say, the output of a controller to the input of a sound module. So even though both devices may have USB connections to the Mac, it does not let them talk to each other without setting up a THRU in your recording software. Problem! (3) Solution! A freeware Mac application called (strangely enough) 'MIDI Patchbay', available [url="http://notahat.com/midi_patchbay/"]here[/url]. I've tried it and it works. So I have just ordered a s/h Midisport 4x4 for £49 delivered. This should make things a lot tidier. I should say that, although I may talk a good game, and despite not being in any way technophobic, MIDI baffles the bejaysus out of me. I am really only sharing what I've found as I go along. Your comments may speed up the learning process for me and others. I do hope that this works out, but on past experience it could just as easily go completely t!ts up!

[quote name='pete.young' timestamp='1378540918' post='2201544'] Would it be possible to run one of these units off a powered USB hub, rather than using a computer? Just curious really. [/quote] Yes the blurb specifically says you can do this - in fact several! My current 1-in-1-out interface runs off a 7-way powered hub.

Always buy the same colour bass, and only take one out at once. The question will never arise. Should work with cars too, as long as they're roughly the same size/style.

Yeah but I don't want to be paying out that much for top-of-the-range that I don't really need! I've also just worked out that the M-Audio Midisport 4x4 will do the job if I'm using the Xboard via USB, and I can get one of those new for £80 delivered, obviously less used - though someone one eBay is trying to sell one for £149! If my offer on the Express 128 is accepted then great, I'll have spare inputs; otherwise I'll get a 4x4, so can't lose really. I never had a problem with my Midisport Uno so s4x4 should be fine.

Thanks for your comments - that must be well over 4p worth! I have been looking at the various models, and neither of those I'm considering work with Clockworks. However on a Mac you can use the MIDI setup to tell your other software what is connected to the MIDI ports on your interface, thus: You can also open up a preference box for each device and select which MIDI channels and what kind of timing information it will send/receive. Yes 4 in and 3 out should do it if I use the Xboard via USB (E-MU no longer support it but current drivers still work). If I am in my home studio then the computer is on, so that's not a problem. Anyway, just put in an offer on an Express 128 on eBay - fingers crossed!

Going back to the singer - if they stray from the beat, IGNORE THEM! Otherwise you'll be all over the place. They'll catch up in their own good time

[quote name='TRBboy' timestamp='1378415583' post='2200113'] Oh guys....... I've got GAS BIG TIME again! Trying to figure out what I can sell..... might advertise my black KT5 again.... Here's the plan: Cherry burst Basic 5 Maple neck with pain maple headstock Chrome hardware White pearl pickguard (and maybe a trans one too) A WHITE pickup! What do you reckon? [/quote] Nah! Rosewood fretboard.

[quote name='Si600' timestamp='1378411275' post='2200015'] I can't be the only one who finds it really difficult hearing or recognising the first beat of a bar, so any tips on how to find it? [/quote] Usually I don't find it a problem but some songs start in an odd place and mislead you as to where the 1 is. A perfect example is 'Sex On Fire'.

I have recently been re-vamping the MIDI elements of my home studio, and I am considering buying one of the above units. For some years all my MIDI routing has been done with a home-made box switching box, but there are so many important changes to be made between record and playback that I am thinking of getting a MIDI USB patchbay and storing all the different configurations in the MIDI Setup utility of my Mac. If your eyes have just glazed over, feel free to move on to a discussion of pick vs. fingers or lightweight vs. heavy cabs. However if you have experience in this area, please chip in your 2p worth. These are the bits that need to be joined up: Akai DPS16 (MIDI Clock source) Roland TD3 electronic drum kit (input and playback) Alesis SR18 drum machine (MIDI clock and notes in/out) Roland JV1010 sound module E-MU Xboard 49 controller keyboard Mac Mini running Sagantech Metro SE (MIDI recording/editing/playback only, no audio) Possibly destined to be the shortest thread of all time...

[quote name='molan' timestamp='1378253585' post='2197850'] Couple of gigs booked already but they've left enough time to make sure the two new boys (me and the drummer) are properly bedded in. Really looking forward to them! [/quote] Where are your gigs? I'm always up for checking out a band.

[quote name='geoffbyrne' timestamp='1378244240' post='2197739'] Mark Knopfler. That is all. G. [/quote] Strangely, since changing to a curved finger / floating thumb right-hand technique, I have found that it is only a short step to Knopfler's style - I just extend my right thumb towards the head of the instrument.