Dood

Thank you to everyone that has taken up lessons already this year! Brilliant! I still have a few slots to fill, but grab them whilst you can!

http://basschat.co.uk/topic/277342-tc-electronic-spectracomp-pedal/

[quote name='Merton' timestamp='1453412886' post='2959397'] I concur with both your posts [/quote] That said, they did offer a 19" rack D-Class unit previously that came and went quite quickly. The WTX seemed to hang in there longer. Maybe shrinking things to lunch box size is what the consumer wants...

They say that the Road Worn version are more than just bashed about standard Mexi versions. Going by the reviews, I'd be more likely to buy a RW than non. but then, I stop myself as I have a '76 law-suit that looks, plays and sounds exactly the same as a 'real' P. - for a lot less money. - Ok, so I do feel a little smug and therefore have no place on this thread.. or basschat.

[quote name='Merton' timestamp='1453411656' post='2959385'] Ah now is that a knowing chuckle Dan... [/quote] Well the likelihood is high, new modules are in production, meaning the 'current' versions are probably cheaper now and more likely to be used. Maybe.

What I would have loved to have seen - one of the big sells for Eden has been that third band of Semi-Parametric in the EQ section. The thing that made the WT550 great, above other amplifiers with 2 band semi'. Oh and keep with the gold livery Eden.

I suggested that one what, 5 years ago? LH preamp with high spec D -Class power amp. Would have been a winner then.

[quote name='Merton' timestamp='1453406992' post='2959315'] [url="http://www.edenamps.com/products/tnseries/amps/TN501.html"]http://www.edenamps....amps/TN501.html[/url] My money is on the same Class D modules as we see everywhere else [/quote] *chuckles*

[quote name='Dan Dare' timestamp='1453407437' post='2959319'] Alex, you're being too sensible. [/quote] Wibble Wibble!

[quote name='stoo' timestamp='1453397090' post='2959173'] The B1Xon can use 5 effects simultaneously and also has a looper and drum machine... I think it had an upgraded processor over the B3. you'd think they could do a B3.1 or even a B3.1X with the processor from the B1Xon . I never understood why they didn't enable Edit'n'Share on the MS60B or the B1Xon.... it would have been really useful on the smaller format units. [/quote] In reality, it's not an upgraded processor - it's actually downgraded software on the same processor.

[quote name='No. 8 Wire' timestamp='1453392447' post='2959102'] Thanks Dood. I more meant without using the toneprint, how does it differ? I read a bit further down the spec page and it says 'improved algorithm' but that's not giving much away. Would love to see your review if you get one, especially if you can do a comparison with the RH version. [/quote] Well, the settings would be improved to suit a wider audience rather than the tone requirements of the RH which has leanings to a particular market, I would say. Not only that, I suspect what they mean is that not only have the parameters been tweaked but the actual 'software' that runs the compressor itself has been updated. If it's anything like the HG pedal, then it's going to sound big, articulate and clear (my findings using the HG even verses the Nova Dynamics).

The Spectracomp on the RH is fixed and if you don't like it, then you can't change it. Using TonePrint you have access to ever single parameter you could ever need to adjust how the compressor sounds and behaves including making it work like a full band compressor. I'd say that access to the TonePrint editor is a major selling point. I think an in-depth video of how good the TonePrint [i]editor[/i] software actually is would be very useful. So, although it is one knob, there is so much more available under the bonnet. It's likely I'll do a TP video at some point to demo.

The G3 does not include the ability to mix in a direct blend of the dry bass sound. This does mean that whereas some effects may be fine, you will lose low end through many such as distortion and drive tones. Using a blend pedal may seem like a solution (which I haven't and can try at some point) but I suspect that the latency through the DSP will cause some phasing issues - cancellation of frequencies that will affect the resultant sound.

Oh lord! I've been so 'into' the Hyper Gravity, then this comes along... it's little, it is cute, It's toneprint enabled, it says BASS on it. I must have it.

The all embracing community of BassChat opens it's arms wide to welcome those from all walks of life, cultures and countries truly accepting of our worldly differences.

[quote name='Ghost_Bass' timestamp='1453389146' post='2959054'] Wasn't this discussed some time ago. I think i remember reading something like the B3 couldn't be updated to a B5 beacuse of the processor's capacity. I think it was something to do with the bass signal using more resources to be processed. [/quote] That's true. As the bass signal is way more dynamic, Zoom felt that they wouldn't want the processor to ever want to run out of steam trying to run two more effects at once, and the looper, and the drum machine.

Wow, who found piss in their Bran Flakes this morning?

[quote name='Dan Dare' timestamp='1453320688' post='2958479'] Frequencies that low may cause an unfortunate commotion in the old trousers... Probably best avoided [/quote] Ha ha ha ha!!!!! [size=5][color=#000000][font=proxnov-reg, arial, sans-serif]Everybody's doing a brand-new dance, now [/font][/color][color=#000000][font=proxnov-reg, arial, sans-serif](Come on baby, do the low co-motion)[/font][/color][/size]

[quote name='D'AddarioUK' timestamp='1453297373' post='2958192'] NYXL Bass differ to XLs in two main regards; construction and material. NYXL Bass strings use a different core to wrap ratio compared to our standard XLs, they are made of our proprietary high carbon NY Steel and plated using a reformulated nickel alloy. The effect of this is a stronger string that has better tuning stability, lasts longer and a more dynamic tonal response. [/quote] I love the 'whammy bar' test video D'addario did for the NYXL guitar strings! If that is anything to go by, then these NYXL Bass strings are going to be hard to beat. I agree with the comments above too. They sound REALLY good on my fave P bass - i think it is sounding better than ever actually.

[quote name='Dad3353' timestamp='1453317175' post='2958424'] Have a look here ..? [url="http://www.avsforum.com/forum/113-subwoofers-bass-transducers/1411500-true-subsonic-subwoofers.html"]True Subsonic Subwoofers ...[/url] [/quote] On stage, I'd say that was a bad idea. It'll cheese the engineer off too. If anything keeping the subs under control and letting front of house take over those duties is the way to go

Ahhh my favourite subject at the moment. Yes, I tune to F# on two of my basses with the ability to drop down a tone to E for certain tracks. Bill has quite rightly pointed out how best to do this but I will go through my signal path to give you an idea how to get the best in a live situation. The most important bit really from my point of view is not about boosting ridiculous amounts of low end through your bass rig. It's pointless and will just make that note sound pillowy and mushy. After all, very few cabinets on the market can actually reproduce anything near that fundamental anyway, it's pointless trying. I do concentrate on defining the second and actually third harmonic areas but also boost some upper midrange too using specific overdrive pedals. Anyway, first place to start for me is of course the bass. I am using a Dingwall AB1 XXX that I have rewired to my own spec. I've written about it on the Dingwall forum called the DV1 mod. The 37" scale helps a great deal too and I have strung the bass with Kalium strings with a 183 gauge for the low string. My Shuker incidentally has a 190 on it as the scale length is shorter. My 'preamp' is a signal path that is split in to three paths - One clean, one with top end drive and the other with a boosted mid range (think custom TubeScreamer here and you are on the right path) - Both drives are high pass filtered to remove any stodge too. The whole path, to simplify gets mixed back together via a triple band compressor to keeps things tight. A bit of EQ in there to add punch and roll off top end sizzle from the drive pedals only, the clean top end is allowed through. I'll miss out the effects path, but I essentially use a TC Electronic G System as my effects hub. Everything gets thrown at a big QSC power amp with DSP where everything below 25hz is absolutely removed, but to be honest there is practically no bass boost in my path added electronically. That said, my bass has an active pre, so I control the lows from there rather than running back to the amp. Finally, for monitoring I am loving the Barefaced Big Twin II which handles what I need it to. Using this method I have found I get a super tone both on stage or recorded via D.I with strong definition across the strings. Personally, it has to be new strings for a 'piano-like' tone, because dead strings down to that tuning sound pretty rubbish

It's a fair comment actually, most SCs are pretty ugly. I feel that some luthiers are trying so hard to be different they end up making something resembling the Bender Distortacaster.

[quote name='D'AddarioUK' timestamp='1453281117' post='2957980'] As far as I'm aware, we have no plans to discontinue Balanced Tension. As for a 5 string set you'd need to pair EXL160BT with a .160 to achieve a BT 5 string set. As I'm sure you can imagine there are issues of practicality that arise from putting such a big string in a set! We sell most of our strings as singles, if you were wanting to try a .160 the item code is XLB160 or XLB160T for the tapered version. [/quote] Straight from the horse's mouth, as they say! I don't think it gets much better than that! A+++++

I like the look of the GA Custom!

interesting!