Dood

[quote name='Al Krow' timestamp='1505126034' post='3369583'] [b]TC Toneprint[/b] That does sound like a nice best of both of worlds. However... [color=#282828][font=helvetica, arial, sans-serif]1. One of the other reasons besides a more natural octave tone (and reduced latency - which my old Boss PS-6 Harmonist was noticeably impacted by) for getting a dedicated analogue pedal, as opposed to using my Zoom B3n multi-fx, is that with any dedicated pedal it's pretty easy to change settings on the fly in a live situation, or even in terms of getting to grips with the tonal options in the first place.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]2. The TC Toneprint stuff has always intrigued me both on the sub'n'up and the Spectracomp. But my sense is that you need to be quite adept with computer software / IT skills to get into the detail of something like the editor software on Toneprint? So if you're not a dab hand at IT is the Toneprint stuff actually really easy to use?[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]3. e.g. how much time did you have to spend in terms of connecting up the pedal to the computer, loading and editing the software, unplugging and re-connecting to try out on your bass and amp; keeping the sound you had just managed to achieve in your head whilst going back to the computer and reconnecting everything to make further edits to refine the sound. [Repeat] Until you have got the tone you like. [/font][/color] [color=#282828][font=helvetica, arial, sans-serif]4. Now multiply that time by a factor of 2 to 4 for someone not familiar with Toneprint?[/font][/color] [font=helvetica, arial, sans-serif][color=#282828]I really like the sound of what you have managed to do for your 1 octave tone down as a preset, but are you then "stuck" with that one preset and e.g. can't have another preset that sounds great as full filter synth, without changing all the software settings again? Obviously that's a non starter when rehearsing or playing live, although you could make it work for recording.[/color][/font] [/quote] I hope you don't mind, I've numbered your points: 1. Treat Sub n' Up like a compact pedal. Once set up how you like you just sweep the controls to taste. It's just with this one you have 3 easy access pedal types, one of those being your own TonePrint. (Analogue style, Polyphonic and TonePrint). 2. Totally disagree. My daughter is 4 and can operate our smart TV and my iPad with ease. TonePrint would be no match for her lol! Of course I am making light of the subject matter, but really, it is very simple. You can't break it, and there's always the default programs to take you back to where you started. Very simple. 3. You don't need to keep disconnecting everything - changes happen instantly - so if you use the editor on a tablet, phone laptop or even desktop computer, you don't have to worry about forgetting stuff. Of course the latter device might be the most difficult if you aren't allowed to play with your bass gear at home lol. I do all of my tweaking next to my (rather cheap home made pedal board) with either my laptop or tablet. Hit save, and then when I've finished, pull the plug and the settings stay. 4. As above, leave it all plugged in and just tweak. Like you do with a new amp or bass. Turn the controls and see what happens. If it makes a good sound then it's good. Yes, it does help if you know how a compressor works in the case of the Spectacomp as it *can* be advanced if you want it too, but TonePrint I can see is designed to be simple to use and get great results. The Editor gives access to the parameters that tweaks also like. On the subject of the Cog - I've not replied as I've not tried one, but Tom is a very talented guy and I have no reason to think that this wouldn't be anything less than a brilliant device. His workmanship is excellent. Very, very good.

[quote name='NancyJohnson' timestamp='1505127174' post='3369597'] There's enough about Lull out there...Seattle based, high end builder, array of well known players. To be honest, they were never really on my radar until I saw the Jeff Ament (Pearl Jam) Thunderbird model (JAXT4); I'd been playing Gibson Thunderbirds for about a decade, but the Lull just took the design, made it bigger and bettered it. I'm a big bloke - the JAX has a body size 15-20% bigger than a regular Thunderbird - so it just looks normal on me. It oozes quality and plays like a dream. I saw some photos of Steven Jay Wilson online and he was using the NRT (non-reverse Thunderbird) 5-string shown in the above. It's loosely based on the Gibson Non-Reverse Thunderbird, but again, the body is bigger. It was like someone threw a switch, so I put up the rest of my 'birds up for sale and put in an order. Buildwise it's pretty standard stuff. Mahogany body and (Plek'd/graphite reinforced) mahogany neck...I've asked for an ebony board, but you know, if it comes with a mahogany board it's not a deal-breaker, the JAXT4 is nice enough...it's just looks aesthetically different. Pickups are Lull originals, Hipshot machines. [/quote] Thank you, yup familiar with Lull, wasn't sure what 'made' this one if that makes sense. Lots of dollar, so hopefully matches the price tag.

[quote name='dmccombe7' timestamp='1505122402' post='3369561'] [color=#282828][font=helvetica, arial, sans-serif][size=3]Its a nice looking bass and I don't know much about Lull basses but not sure i'd pay that kind of money for what seems a standard looking bass.[/size][/font][/color] [color=#282828][font=helvetica, arial, sans-serif][size=3]Are they that good ?[/size][/font][/color] [/quote] I'm intrigued too. What's the spec? Rare or exotic woods, or a complex construction? I'm not familiar with this model.

[quote name='Al Krow' timestamp='1503266150' post='3356871'] Modern digital pedals (e.g. TC sub'n'up) should track down to low F# [i]and indeed lower. [/i] Consensus on analogue pedals (which seem to score better on warmth / more natural octave tone and also reduced latency) is that they can comfortably get down to a low G, but will typically struggle lower than this. [/quote] I'm going to give Sub n' Up a thumbs up on both of these points. It does indeed track lower than any Octave pedal I've used whilst staying 'stable'. The Sub n' Up has different modes of operation out of the box including an Analogue emulation which is ace. Once again, where the pedal excels, like other TonePrint enabled models is getting your hands on the editor software (free). Within this pedal's parameters is the ability to adjust the EQ on each of the separate octaves (+1, -1, -2) along with the ability to even add Chorus and other cool effects. The reason I mention the EQ is that it is possible to warm up that octave tone; you'll get the best of both worlds. The Analogue sound everyone mentions [i]and [/i]the [i]ridiculously[/i] low tracking. My own preset I've created a 1 octave down tone, but I have scooped the sub frequencies off of the -1 output. This has given me a super tracking sound but it is tight, tight, tight! So punchy rather than dub-sub (which of course it can do in spades if I want).

[quote name='dood' timestamp='1464687948' post='3061364'] What's shocking is that these regional rates have pretty much stayed the same even since I first started playing. Even 'Minimum Wage' has managed to increase in comparison lol.. [/quote] #SadTruth Wow I was about to post this! Great minds think alike Dood!

[quote name='walshy' timestamp='1504905948' post='3368287'] More pics on Jons Facebook page. This is so bloody good, I mean really really good![b] I've ordered a twin brother now too in she'll pink[/b] [/quote] Made my evening Congratulations!!

[quote name='Shawman' timestamp='1504874370' post='3367947'] I'm more interested in the Spiceworld Tour poster [/quote] Are you looking to "spice up your life"? I'll get my coat

[quote name='itsmedunc' timestamp='1504820852' post='3367651'] Much to my dismay, I have an unused pair of FR800's gathering dust due to being unable to get 5 people in the same place at the same time! [/quote] [quote name='mrtcat' timestamp='1504858418' post='3367774'] Want to sell them? [/quote] I'd have torn your arm off to buy them if I hadn't already had mine torn off by an unrelenting stream of repair and house bills. Anyone know what the lottery numbers will be?

Doug let me cuddle the prototype Darkglass amp, in a lift, with his girlfriend. Whilst he watched. It felt so wrong, but so right.

[quote name='Skybone' timestamp='1504807614' post='3367513'] If you want to keep the bass as a passive, then why not look at adding an EQ pedal? Does the same thing that you want, and you can easily switch it off when you've finished solo-ing, without the hassle of flicking a switch on your guitar. [/quote] My suggestion too. Try one and practice boosting the different mid range frequencies rather than pushing the total level up. The beauty of this is that you can change your solo voice easily but also easily recall the settings you like without a screwdriver!

[quote name='uk_lefty' timestamp='1504814428' post='3367588'] I use a zoom hn2 also.. out of interest where do you position it for recording gigs? Want to get some crowd noise but not the conversation of the two people nearest the mic all the time.. Thanks and sorry for going off topic! [/quote] Mine up until recently has been fulfilling two jobs at once and those using IEMs might want to check out my video in the reviews section. It actually sits on a clamp on my IEM controller stand. I tend to usually be just to one side and in front of my drummer so the audio being picked up from the rear mics features more drum ambient sounds and the guitar amp/ monitors where the front microphones are picking up audience and room ambience. It's mixed to stereo at the line out and I would feed the audio in to our IEMs to get that 'connected' aspect back as well as adding to the 'space' of the stereo IEM mix. I do have a very nice set of condenser mics arranged in ORTF format to try for the next gig when it comes to ambient needs. Back to recording though - the beauty of the H2N is in the recording (on to the internal card) of front stereo and rear stereo separately, meaning you have two sets of audio files to select from even before using mixing techniques on both at the same time to get the sound you want. It's a great gadget and I keep it in my case all the time. I actually use it stand alone with my IEMs in rehearsals too. The combination is better than any passive ear plug I have ver used - and I've had many!

Yes! All the time! - As Discreet says, it needn't be too difficult to set up and the Zoom H1 is a great example of a simple recorder that captures in stereo and doesn't distort. I use the H2n which is also just brilliant, highly recommended as they are small and handy to have in the gig bag all the time - especially for capturing gigs. Often we go one step further and I take the Q8 with me that also means we can record video with the high quality audio too.

Yup, I like having the option there. It adds a bit of level and depending on the pickups often extra low mids and maybe slightly less top end when going passive. Active electronics will often counteract that effect which can be noticed if you have a circuit that has a true bypass active/passive switch.

[quote name='lowregisterhead' timestamp='1504808812' post='3367530'] Yeah, watched it this morning - very interesting! [/quote] Ah! Thank you!

[quote name='lowregisterhead' timestamp='1504808579' post='3367525'] Looks very nice Dood, thanks for the recommendation! I was wondering if I could somehow find the readies for a Thunderfunk TFB800-B2, but with duty and tax, it's about 2 grand! The B|Amp looks great though. I will investigate further. [/quote] No problem! I've reviewed the B|Amp, but I haven't had my hands on the Forté yet which promises to be very good too. Here's some bloke who seems to like it a lot: http://www.youtube.com/watch?v=LHoNNtuOpsc

[quote name='SpondonBassed' timestamp='1504794268' post='3367370'] That's the most interesting thing I have read in this topic. You wont thank me for saying that my first response to "Notation Dyslexia" was to type LOBBOX! but as I read on I realised that you seem to have a better appreciation of the very nub of this topic than any other member who has contributed. Respect. There are only a few teachers who I genuinely respect and today I added your name to the list. [/quote] I'd have laughed out loud to lobbox (Not so much that auto-correct has changed my typing three times). Thank you, for your reply though. I'm genuinely touched. I guess I just seek in a way that I always want to know 'how things work'. Maybe that's why I love my job reviewing guitar gear as well. Aside from the magazine, I've been very fortunate to work, in-depth, on some music based projects (some award winning) that I have delivered to those with a range of 'needs'. I've delivered music projects to those with Autism, or physical handicaps; I've presented clinics to staff members for using music as a communicative device and I've worked with sufferers of Dementia. We developed a program in conjunction with the education department of a very famous concert hall establishment. The latter not feeling like work, but a very emotional journey and understanding of the effects of a range of mental health diseases, which had a huge impact on me. I suppose in short, I find myself questioning and analysing the way that I teach all the time - and of course with that, trying to understand how people learn. Maybe there's a Masters in that somewhere!