Dood

Not strictly eBay, but not mine, I don't know the person selling it or where they are based. I'm posting for the benefit of my fellow bassists: https://www.facebook.com/groups/guitarexchange/

There's a Helix LT just been advertised here for £600 https://www.facebook.com/groups/guitarexchange/

2009 to 2017! Expect a new post very soooooooooooooon!!!!!!!!!!!!!!!!!

I'm looking at iShot at the moment as they seem to have clamps that can take the iPad with the cover on too.

[quote name='CameronJ' timestamp='1507403794' post='3385309'] Hercules make a couple of good ones. I'm not sure if they'll take a 10.5" iPad but might be worth checking out. I have a Hercules mic stand phone holder and it works great. Sturdily built too. [/quote] Thank you! I've spotted the Hercules one, but there appears to be lots of problems with the model specific to the 10.5, so I have excluded it from my search. Though I did have one for my first iPad, a 2 model. The clamp was pretty sturdy, so I wonder if it was a design flaw in the model I've been looking at.

I’ve found myself with an iPad Pro 10.5 and my current bracket for the Mini 4 is too small. I’ve looked around but am finding the clamps that should do the job fall short at the last hurdle. Either: Too expensive, not gig worthy (identified as having week parts) or can not take an iPad in a cover. What are you all using? (If you dare to go against the ‘done thing’ and have one on stage of course lol! Oh and it’d be great if it could be spun from horizontal to vertical easily as I may need to flip from gig notes to the remote app for my IEM mix.

[quote name='dood' timestamp='1507225860' post='3384092'] Quick tip: If you rest your thumb on a pickup or a string, don't let it support the weight of your arm/hand. It should be touching, resting and firm enough for your finger to pull back towards only. Though the tendency is to then rest your forearm over the top of the body and dangle a hand down on to the strings. Don't do that either [/quote] [quote][color=#282828][font=helvetica, arial, sans-serif][size=3]Quick tip: If you rest your thumb on a pickup or a string, don't let it support the weight of your arm/hand. It should be touching, resting and firm enough for your finger to pull back towards only.[/size][/font][/color][/quote] [quote name='Oopsdabassist' timestamp='1507274618' post='3384355'] Interesting..why do you say that? [/quote] I've re-quoted my whole post as I think this will help to highlight the point. Really, it's all about promoting good hand health and posture. I've had people, bassists, come to me who complain that they have aches in their thumb, hand and sometimes lower arm and shoulder too from playing long gigs. Often, there's a reason why that can be helped. I'm not a physiotherapist but my experience (sometimes learning the hard way) I hope can help to undo some bad habits. It's not always about hand position, sometimes it can be down to being too heavy handed on the instrument or the bass weighs a tonne and suffers from terrible neck dive for example. This is easier demonstrated than described, but here goes: Thumb first. If you bear down on your thumb joint with your arm, then it's taking the load. That joint isn't supposed to be compressed. Add to that the constant pulling motion on the strings with your fingers, it's going to eventually cause discomfort. Instead of that, your hand should be more 'dangling' but your thumb is there to steady your hand not be an anchor for your arm. Ok, I've got an analogy. Think of it as resting your thumb on an egg. Forearm. There is a tendency for bassists to rest their forearm on the top of the body and dangle the hand over towards the strings. Also not a wise idea because the wrist is bent over at an angle (sometimes as bad as nearly 90 degrees) to the forearm. This is a recipe for carpal tunnel and other complaints. Keeping the arm and wrist straight is the way to go. Or at least as straight as possible.

[quote name='discreet' timestamp='1507226495' post='3384096'] Or you can bypass all this by playing with a pick and palm muting. [/quote] Yes, but don't forget the fun of putting one of those 'real bassists only use fingers' buffoons back in the place when you switch between the two effortlessly mid song Most of the time I don't even put the pick down as it hides in the crease of my index or middle finger depending on what I'm playing. Or in my chops ha ha!

[quote name='Al Krow' timestamp='1507230244' post='3384141'] Ok, dear dood (btw we spell that "dude" in the UK), here's the thing: someone has decided to swap me another delicious dinosaur pedal for my COG T65 and as I'd previously listed my lovely COG T16 (in anticipation of getting the T65) I recklessly promised a struggling bass player in Reading, with no money, my COG T16 for a senslessly low price (I guess I was feeling particularly generous 'cos our East End London pub landlord, where my two bands get regular paid gigs, offerred us a £30 a gig pay rise without us even asking and told us that was the "new going rate" - bless him!) and Reading bassist is busily trying to cobble together the cash by selling some of his other pedals, so I kinda feel duty bound to keep my promise to him (always a good thing to do in life, right?). So...that means I could shortly be without any octave pedal! Now Cameron would historically have said get an Aggie Octamizer, but that would be the FOURTH Aggie pedal on my board and I'd end up being regarded as some sort of inadvertent Aggie groupie, which I'm not. But Cam's swapped his Aggie O for his COG T16 (so he clearly agrees with me that they are the biz!). Dannybuoy would probably recommend a 3Leaf Octavbre mini (which are a snip at £225). However you seem to have reached octaver nirvana with the TC Sub'n'Up: - an octave pedal that tracks down to a low E and below; - with the right Dood toneprint sounds as warm as the best analogue; - can blend in clean; - has minimal latency; - costs just £109 new for the full fat and £98 for the mini. So you've got me tempted! 3 Qs (and apologies I think you recently answered these elsewhere) 1. Can I get the Dood toneprint to work on the mini (I assume "yes" otherwise you wouldn't have bought the mini)? 2. Is there any point getting the full fat version (I assume "no" otherwise you wouldn't have bought the mini)? 3. How the heck can I get hold of the Dood toneprint and get it uploaded onto my Sub'n'up? Is this something you can upload onto a USB and send to me (and I'd cover your costs, including something for your time effort and IP?) [/quote] Al, I love your posts!! I love a proper discussion and you deliver! I've had a seriously long day today and hoped to reply properly earlier, but I'm ready to flake out. Just wanted to quickly post to say I will get back to you!

Quick tip: If you rest your thumb on a pickup or a string, don't let it support the weight of your arm/hand. It should be touching, resting and firm enough for your finger to pull back towards only. Though the tendency is to then rest your forearm over the top of the body and dangle a hand down on to the strings. Don't do that either

Hopefully your teacher has explained clearly the reason for doing this and any advantages or disadvantages to the technique?

Too many. I keep feeling that I shouldn’t have so many. Not that I have as many as most of you all.

On a side note, regarding switching impedance in speaker cabinets, Hartke have also successfully switched the impedance of the actual driver in their HX112 cabinet. The driver has [i]two[/i] coils in it. It's just a case then of using a switch on the back of the cabinet to bring in those coils to change the cabinet impedance from 8 to 4 ohms. This isn't the way that Barefaced is doing it mind, but I thought it'd be interesting to mention. Nobody mention the Accugroove debacle regarding the TRI210L..

There is a crossover that will have some loading effect on the circuit. Taking the Two 10 as an example, only one speaker receives the full range signal (via the crossover), the other is treated by the crossover to sculpt it's output response. I expect that Alex is able to use the effects of the crossover on the circuit to assist in the switching arrangement. I've not seen the schematic to say for sure how it's working exactly.

Yes, brilliant, which was what I was getting at with the whole compressor thing above, but I didn't know it was something the POG2 had built in, so that's cool! Cheers

Turns out you won't be able to do that, as I've heard that you are an awesome bassist, bang on the money annnnnd I know that you know good tone too. I had seen some of your toys

I was actually due to release my own TonePrint for the BH800! - But the chap who used to do all the bass stuff left the company before it was ever released. We made the setting in a hotel room in London full of TC bass gear. It was quite a sight!! - Maybe it's something I could approach TC about again as I chat to them a lot.

It's a Shuker Singlecut that I designed with Jon Shuker. It's tuned in standard, F#, B, E, A, D, G, C from 182 to 30 gauge strings. The instrument is an interesting one as it can be set up and played like a Chapman Stick though at the moment it is more suited to standard bass duties. The neck has a pair of truss rods and four specially placed tensioning rods in the neck. Round the back, the heel finishes well after the 24th fret too, so it feels like placing at the 5th fret when you're up at 20. Lots of fun, sounds like a grand piano! When it comes to coping with the low end, well this is something that messes with people's heads a bit. There are practically speaking, no bass cabinets on the market that can deal with the fundamental frequency of the open F# string. Sometimes I'll tune down another tone for E below the normal E string, but I don't know when I'll be gigging that material any time soon. I digress. - So, the only place your gonna get that gut dissolving low end will be FOH out of the subs if that's what FOH want. On stage it's not actually a good idea. If I am using this bass then actually I switch on an HPF to keep the fundamentals out of the equation. It's too messy on stage and can also be a problem with keeping a tight sound, as much as it would be nice to rumble the band mates. The place to concentrate the punch is in the bass (not subs) and low mids which would equate to the usual place to find the note over tones. I also use pickups on this bass that have a spike in the lower treble frequencies that help to pitch definition. Finally my secret weapon (not so secret) is to use my favourite distortion pedal to add a little grit but in a band-pass region. It really brings alive the overtones on those low, low bass notes. Oh I suppose finally, those notes don't get used all the time. Sparingly is the best approach

Yup and what's interesting is that for me, although I need the octave to get down that low sometimes, it's not necessarily the most important thing live in the moment. What is isn't that the pedal can't get that actual note but how it treats the signal when it can't reproduce. Something I really liked about the SubnUp full fat - and I've not tried the Mini live yet, is that in Poly mode, if it can't track the note the transition to a 'dry' signal is so much smoother than many pedals I've tried. Now it may just have been the TonePrint I was using or it's the algorithm, but I hardly ever got any warble or those annoying artefacts that you get with analogues. Often people say that an analogue sounds warmer and the latency is less, but you know, I've got a way round that too and it's another reason why I prefer using this kinda pedal. I got the idea from parallel compression where it is possible to fool the ear that there is less compression than there actually is by mixing in the dry signal to take care of the initial attack. The compressed signal can have all of the attack removed entirely but your ear will still hear the impact of the first note. In terms of the Octaver, you know when there's latency when you hear a definite attack in the synthesised sound. So, in SubnUp there's no opportunity to remove the attack using compression, though it would be possible using a wet/dry pedal and a compressor I suppose, so the way I've done it is by masking the attack of the effect. Simply, your ear is more sensitive to high frequencies, so I've used the TonePrint EQ on the SnU to take the top end off the -1 Octave. As far down as 800Hz I think! Then I've added a low mid bump which creates the analogue warmth, or I've removed the very low subby end of things that accentuates the mids. Then, mix it just right and you get a really sweet octave sound which adds body, sounds warm but tracks like a beast!

I do have a low F# below B!

Yup, it bugs me too! The application can't refresh with the current TonePrint and thus you won't know it's name. Which is annoying as I make so many presets I can't remember what one I liked the best. So now I have to save them Dan1 Dan2 Dan3 and just go for the highest number!

Great questions! Ok so as above,I’m struggling to find time to really get in to my usual level of testing. I do for example own a latency tester ha ha!! Anyway, the Cali is an amazing compressor yes, but the triple band compression for bass guitar is hands down better. Thankfully there is such an option on Helix and it is very good. The 1176 model on the Helix is rather nice too and you’d not tell the difference when playing live. Initial tests suggest that although the pitch shifting tracks accurately and fast I think it might not track as low as SnU. But let me test that properly - and also take in to account that when I mean track low, I want to go all the way down probably lower than most people need. In that case you could say that these octavers are both exceptionally good.

That’s a very good question and if I’m honest I’m not sure. The HGm doesn’t have the option, it’s TonePrint all the way and I didn’t ever use the options on the full fat version because the TP was always the better option lol

[quote name='radiophonic' timestamp='1507026413' post='3382769'] The lack of on the fly control is the one thing that puts me off the Spectracomp. That said, I will almost certainly get one and already would have done so if I hadn't spent insane quantities of cash on pedals this year. [/quote] I'd thus recommend the HyperGravity (Or HyperGravity Mini) which brings three knobs to the party. I have both the SC and the HGm here and I really like them both, though I am messing with the HGm to decide what I want the controls to be mapped to. So far it's Threshold for the three bands and a wet/dry parallel mix knob. The third I might adjust the gain of the low and mid bands to add some extra rumble