Dood

To be honest TonyP, those labels these days are meaningless. In reality, the input labelled 'active' should actually just be called 'padded'. What this actually means is that the signal from your instrument is [i]more[/i] attenuated in the first part of the signal path after the 'active' socket on the amplifier verses the 'passive' input. If you happened to have an instrument with a very high output (and this can be a passive instrument by the way, it doesn't have to have active circuitry for example) then the higher output signal could distort the input section of the amplifier (be it valves or transistors in fact). Well, you may ask, why don't I just turn down the gain control, sure that will solve that problem? - Yes in many amplifiers it can, but there are plenty on the market that feature some sort of gain stage that appears before the gain control in the signal path, so it'd actually be possible to get it to distort even with the gain control all the way down at 1. The Ampeg SVT's are a good example of this sort of schematic. By having an 'input pad' you reduce the possibility of unwanted distortion at the input before the signal travels through the rest of the amp circuitry. In terms of which you should use - your ears will help you there - which one sounds the best? If you have a bass, either active or passive that has a lower output (you may or may not realise this) then the 'passive' output may suit it better - similarly for an instrument with a very high output (such as mine where I have three pickups wired in series) then I'd want to use the 'active' or 'padded' input to stop the amplifier from distorting at the input. So, to sum up - manufacturers should rename those input sockets, or just offer one socket and a button marked 'pad' 'or attenuate'!!

[quote name='TimR' timestamp='1459692648' post='3018655'] Active only refers to the tone controls. The output of an active bass should be no different to that of a passive. [/quote] Should but never is

I'm using the TC Electronic G-System plus one or two pedals that the G-System can also control. This gives me the flexibility of an all out touring board but also the routing options that mean I can include some f my favourite pedals yet never have to touch their controls between patched. TC certainly have a long history in rack effects - the G-Force is, in comparison to the likes of the Zoom kit, old in the tooth, but still wipes the floor in terms of quality of algorithms. Eventide, TC and Lexicon are the brands I'd look to for pro rack gear but that's not to underestimate where the likes of Line 6, Fractal and Zoom are heading. For a software solution, Positive Grid are streets ahead and I whole heartedly recommend them for the computer / IOS based musician. Indeed, I've just recorded all of my bass sounds using PG plug ins and it sounds massive alongside some truly top notch musicians. Mmmmm that rhythm section!!!

[quote name='floFC' timestamp='1459635216' post='3018327'] The link at the top takes me to a different web site (acmebass.com) you may want to check your hyperlink. Thanks for posting this review. [/quote] Thank you!!! I actually borrowed the titles from another review! I forgot to check the hyperlink! ooops! I have edited and the address works correctly when you click on it now!

[color=#282828][font=helvetica, arial, sans-serif]Issues 37,38,39 AND the latest 40 now up. Check the first post and scroll down.[/font][/color] [color=#282828][font=helvetica, arial, sans-serif]include issue 40 and that's One Hundred and Forty HD video reviews and interviews![/font][/color] [color=#282828][font=helvetica, arial, sans-serif]Some issues have been offline, but there's footage that has made it's way to YouTube as well.[/font][/color]

[u][b]Instrument and Speaker cables[/b][/u] [url="http://www.rock-wire.uk.com"]http://www.rock-wire.uk.com[/url] David Polgaze, also known as our very own 'OBBM' really is no stranger to the pages of BassChat. Indeed I first chatted to Dave back in the days of BassWorld V.1 - The days before internet mutiny and this superb community made it's home at BassChat.co.uk. I think Dave was making cables back then too - actually, yes, I bought my first 'proper' heavy weight Speakon cables from Dave and they are still going today! Well, I've got a little review of Dave's latest - and they are as good as ever. First up a 'high flexibility' Instrument cable and then a suitably chunky Speakon to Speakon short cable, just the right length for amp to cabinet hook up. Rock-Wire is hand made, which also means that it can be to your custom specifications too. Using top notch Klotz, Sommer and Vandamme cable, Neutrik Pro, Hicon or Rean connectors. Indeed, I recall a BassChatter requiring a one-off signal / effects / power cable snake back and forth from his effects board and amplifier backline. It was an impressive beast of a cable with several signal paths catered for in one flexible sheath! I suppose to get an idea of what Bassic-Bits are capable of, then a look at the website address above. [u][b]Features[/b][/u][color=#282828][font=helvetica, arial, sans-serif] (10/10)[/font][/color] High quality connectors and cables: I can't really add more to that. The soldering work on the cables I have here is professional and tidy, exactly as you'd expect. Rock-Wire also manufacture cables with those more unusual connectors for wireless systems, effects patch cables and power supply cables too. [u][b]Sound Quality[/b][/u][color=#282828][font=helvetica, arial, sans-serif] (10/10)[/font][/color] I have no reason to doubt the sonic integrity of these cables. No noise when you shake the instrument cable under high gain situations and the connectors feel solid attached to my guitars. Looking at the Speaker cable specifically - it's a 4mm2 conductor type. It is a BIG FAT CABLE capable of transferring lots of current with minimal resistance. You can also tie up your ogre-sized drummer with this stuff too if they won't stop practicing between songs [b][u]Value For Money[/u][/b][color=#282828][font=helvetica, arial, sans-serif] (10/10)[/font][/color] Sure, you can buy really cheap cables off eBay - and you may think they will do, but trust me on this. They will break and always at the wrong time. Cheap connectors appear to be made from cheap tin (ha) and always seem to bend out of shape inside, or the cable conductors strands are weak and will just fray away. The brands mentioned above I believe have a huge reputation for quality. [font=helvetica, arial, sans-serif][color=#282828] Throw in to the mix the completely customisable aspect, local manufacture, support from the technician himself, then it's a no brainer.[/color][/font] [u][b]Customer Support[/b][/u][color=#282828][font=helvetica, arial, sans-serif] (10/10)[/font][/color] Dave is an active member of BassChat. When I have needed to chat with him, I've always had a fast reply. [b][u]Overall Rating[/u][/b][color=#282828][font=helvetica, arial, sans-serif] (9/10)[/font][/color] In the interests of offering a balanced view of these cables, there's just one thing I can think of that will score these cables down, but it's barely worth the mention as it is obvious. You will need to [i]order[/i] these cables and in the case of something specific you may be subject to a lead time whilst they are made. You could of course pop in to any shop and find high quality 'off the shelf' cables same day, same visit. If you are on tour in Europe then you're unlikely to find a local Rock-Wire distributor for example, but if you are taking a huge touring rig with you then that's a different set of needs anyway. If smaller (high quality) orders, one-offs, unusual requests and 'buying local' is what you are looking for, then I reckon OBBM is your man

Well, an update - I've grabbed a DarkGlass Vintage Deluxe from a lovely chap here on Basschat that I am pairing with the TC Spectracomp. I've also got an EBS Billy Sheehan Signature Drive Deluxe here to review, but you're going to have to wait to read my review in Guitar Interactive for that one!

[quote name='No. 8 Wire' timestamp='1457357351' post='2997659'] I still haven't tried out the toneprints or tweaked anything, however I'm getting a lot of noise with the Spectracomp past 12 o'clock on the standard setting, obviously this is because of the amount of gain introduced to offset the higher compression, but still its there. Be interested if you found a tweak that sorted that out. Although Its not a massive problem as I can't see myself using the TC past 12-1 o'clock much anyway. [/quote] I spotted a firmware update for the SpectraComp that includes a tweaked default program. If you haven't tried that, then grab it first. - The answer is yes though, like any effects unit, the standard program will never suit everyone. (Which is no different from analogue pedals either and thats why we buy so many!!) - but I found with minimal tweaking of the threshold, ratio and level settings I could get the pedal to give me what I want. The thing to remember though is that with the multiband compression, your ear will tell you that the signal is less compressed than it is verses full band compression which is way more obvious at the same settings. Thus, you may raise the noise floor by upping the 'levels' so that the pedal sounds like a squeezy full band comp. If that's the effect you are after, then I would seek out a full band compression TonePrint rather than the 3 band types

I was sent two of these to review some pickups installed a while ago. Not a bad bass but I recall that we guessed that the price range of the instruments would have been in the £250 price bracket. I'm not sure that the two offerings we had could have matched up with a Yamaha or Ibanez at the advertised price point in the OP. Maybe they've been improved since and have that 'you''l be amazed' quality that is being advertised here. Looks good though - and I'm glad that the headstock design has had some thought put into it, rather than some 'copy' headstocks that just look like the R&D department went to the pub for lunch before coming up with a 'masterpiece'.

Sam bought my BG250 combo - A swift transaction, great communications, yup, no problem! Thanks Sam!

I really like the Baxandall circuit as it is a shelving type I believe, meaning that you can choose a corner frequency and then everything below it (or above in the case of the treble control) gets boosted (or cut for that matter). I think as long as you choose the frequencies carefully then there's no reason why it can't work. My first bass preamps I built used Baxandall circuits and at the time I didn't miss the mids. Of course, it wouldn't hurt to create a circuit to daisy chain, a semi-parametric mid frequency control I think would be a valuable inclusion.

[quote name='RhysP' timestamp='1459280792' post='3015131'] The problem though is that, regardless of how good the review is, you're never going to get a really good idea of what a bass sounds like from a video you watch on a computer. I certainly wouldn't base what could be a multi thousand pound purchase on a video clip & I'm surprised anybody else would either to be honest. [/quote] Funnily, nearly every single review I do I remind the viewer to ensure they are listening through decent speaker or headphones - no laptop speakers or ear buds. That said, no I think very few people would use a single review as a basis for a huge purchase. However, as a reviewer my job is to inform and offer my experience in support. That's also why you'll never see me ego-shred, slapfest or show off. it's not about me, it's about your next purchase choice.

[quote name='Mykesbass' timestamp='1459276792' post='3015076'] This. I find almost everything from effects to rigs to luthier built basses are demoed very poorly. Than goodness for Dood and Ed Friedland! [/quote] Thank you! Genuinely, if I had the opportunity I would video review every bass I could! - Maybe there's something I [i]can[/i] do. Thinking hat on!

There isn't an input level control on the MS unfortunately and yes, it does sound like you are driving the input with a bit too much level maybe - but that said, it'd be good to get a recording of the buzz if you can - it's easier to diagnose that way. I also agree with dannybuoy too but also, the distortion could also be happening if you have several effects active in a chain and their own levels are way too high, which will also cause some ugly digital distortion, not the nice analogue sort.

Great pictures BlueJay! With ref' to BassAgent's comment, I started to wonder how many BassChatters I didn't know were at the show. What if we had a thread with pictures of BC attendees?

One day I'll try one of these out - still on my radar!

[quote name='krispn' timestamp='1459196382' post='3014392'] I'm confident I could make it sound like a one-trick pony [/quote]

[quote name='Bassman Sam' timestamp='1459192488' post='3014334'] I hope it doesn't sound like a Thunderbird. I want it to have a Dingwall voice, whatever that is. [/quote] The DV mod still sounds like a '3X' on a Dingwall that's for sure, but the pickup configuration offers some extra breadth to the sound which I feel is rather exciting!

Brilliant stuff BlueJay! You got my good side x

I've had one waiting for me at the magazine studio for over a week now. I'm here, the pedal is there... nyargh!!!!!

[quote name='NancyJohnson' timestamp='1459119274' post='3013728'] I'm keen to try and emulate that Dug tone into twin cabinets...route a cleanish/phat signal into channel A and tinny guitarish dirt into channel B. Fun times ahead. [/quote] Ahhhh yes! I do the same, but mix the two signal before sending out to other effects, amp and cabinets. Phat bass + thin/low mids distortion makes for a huge punchy tone with just the right amount of dirt!

I reviewed the GT1600 in GI Mag - it's a great amplifier!

[quote name='arthurhenry' timestamp='1459103173' post='3013579'] Entirely correct in principle, however, many landlords would just laugh and not book the band if you produced such a contract. If they did sign and you took action after an unreasonable cancellation, you would likely lose bookings at other venues, when the landlord told them about it. All this at a time when gigs are few and far between. [/quote] Exactly - Which leads us back round the circle. If bands did care, every band would have a contract - then in the case of 'wrong doing' they would be quick to support each other and boycott the venue for being sh*tty and others venues who treated said bands the same way. It'd never happen though and that's why bands are still being paid exactly the same amount that they were when I first started, yet the cost of living alone has gone up greatly. It only cheeses me off because I hate seeing all this hard work and energy that my fellow musicians put in being screwed over. - Yes there are great venues out there and they deserve to thrive, but the whole live music culture is a mess and plenty of venues take advantage of that.

Join the MU, print off contracts for gigs, get landlords to sign. They cancel at short notice, their loss, or you take them to the cleaners. Too many music venues think that bands play 'for fun' and treat them like crap. The reason why this won't work though, is that too many bands don't value themselves enough to protect their investment. So the circle continues. #GetPaid

[quote name='paul_5' timestamp='1458983667' post='3012542'] Be useful if you can drive the valve for a bit of dirt. The LH preamps in ever used to let me do this. [/quote] The LH heads were never designed to distort just have masses of clean head room - actually something I preferred them for.