Dood

Last year we all saw the MS-50B advertised but it never materialised. I've just spotted the MS60B on the Zoom website posted this afternoon : [url="http://www.zoom.co.jp/news/article/506"]http://www.zoom.co.jp/news/article/506[/url] • Over 50 types of bass effects includes 6 bass amp models • Use up to four effects simultaneously • 30 preset patches ready for immediate use • Create and store up to 50 original patches • Integrated auto-chromatic tuner • Tap tempo function • 1/4-inch input jack, two 1/4-inch output jacks • Up to seven hours of operation using two AA batteries I think i'm interested, but slightly miffed that once again the guitarists get six effects at once and we're only allowed 4! Hmmmmm!

[quote name='Commando Jack' timestamp='1359112881' post='1950004'] /snip However there are reports of people having a hearing test only to find out that they lost the ability to hear only certain parts of the frequency spectrum due to the consistency of the motor noises, which effectively notched their hearing. [/quote] Yes exactly! - I was offered a set of hearing aids that are programmable which only boost in the areas of frequency that have been lost. This is set after taking readings using the usual specialised test gear to ascertain where the losses are. The trial was actually pretty amazing and I would very much like to buy a set. (Not that my hearing could be considered bad - I'm just a geek!) It's very true when they say 'you don't know what you got, 'til it's gone' but more so in this case, it's almost frightening to hear for the first time what effect those losses have had on hearing. It wasn't [i]just[/i] about 'the sound of things' either. Spatial awareness seemed to be hyper sensitive as my brain has obviously been over compensating for those dips. Genuinely, it seems like a bizarre thing to say but I could actually hear the size of the room just by the noise that the computer was making. Tests have also suggested that using these hearing aids can actually help alleviate some of the effects of Tinnitus too. By boosting those frequencies that have been lost, your brain stops trying to turn up the sensitivity in those areas to compensate for the loss. It is believed this turning up of the 'gain' is what induces the Tinnitus effect in recent testing. I can't say for sure if that's true, I'm not an audiologist - but certainly the two audiologists I have spoken to about this support the statement.

[quote name='silddx' timestamp='1359112512' post='1949993'] Here you go [url="http://www.hse.gov.uk/noise/calculator.htm"]http://www.hse.gov.u.../calculator.htm[/url] [/quote] Excellent! Thank you!

[quote name='JamesBass' timestamp='1359112438' post='1949988'] If you research Noise Induced Hearing Loss and Noise exposure times and Decibel levels you'll soon realise just how important it is to wear ear plugs. Each time you experience ringing in your ears it means you've damaged them, all be it only slightly but each time you do damage to them you'll soon experience a sudden loss of frequencies and the level will drop. Seriously I'd recommend EVERYONE who plays music whether it's just low level practicing or full band rehearsals, just do it. Hearing is the thing you need most for playing. [/quote] Ahh we both typed a similar reply at the same time! - Yes, my own hearing measurements support this statement! I have a dip in the frequencies of my hearing as described.

The other thing I wanted to add about ears ringing that usually gets missed: If you go out to band practice and you arrive home with ringing ears, the damage has been done already. If you wake up in the morning and the ringing has gone, the damage hasn't repaired. It can't. Next time you go out to a gig and come back with ringing ears, that's not the same damage, that's even more. It's cumulative. Some people have gone to many gigs and not suffered from ringing effects of tinitus, but actually they could have suffered the same amount of damage to their ears unwittingly. So, ear plugs in! It's not worth the risk!

I think it's fair to say that evolution hasn't moved as fast as technology - Our ears are really not designed to deal with being exposed for long periods to anything that has a high SPL. (Generally man made 'stuff' seems to come to mind when I think about it.) Tractor, drum kit, shooting, even using hammer drills for extended periods can all give the ear drums a serious rattling. All of those should require either turning down (where possible!!) or the use of ear plugs/defenders. So how do we decide when necessary - I guess that can be difficult. There are published guidelines (sometimes printed on the back of ear plug packets, but I have also seen them in amplifier manuals too) that suggest the maximum amount of time to be exposed to a particular volume, rated in decibels. They sometimes have some practical examples too, for example 'road drill' or 'aeroplane taking off'. I think there's two problems there straight away. Firstly we don't carry around suitable test gear wherever we are to take note of the ambient volumes we are being subjected to. The other problem is that I don't live near an airport or do I spend lots of time near road drills, so it's hard to make a comparison between those a distance away or my drummer 2 metres from my noggin!

It's so frustrating watching all the exciting updates coming from NAMM - I have a lot of colleagues / musicians I work with over there enjoying themselves and I cannae be there too! Nyaaaarghhhh!!!!! lol

[quote name='elephantgrey' timestamp='1358953420' post='1947543'] yes, you would achieve the same thing by having a blend control on the compressor, or running it though a looper with a blend. [/quote] Also agreed - but be careful if you are using a DSP type compressor with an LS-2 as you'll probably get phasing issues with the two blended signals as the pedal signal will be everso slightly delayed. Not enough to feel in your playing but enough to notice the sound difference. Thankfully, most compressor pedals, such as the Multicomp or the boss types are straight analogue. The Nova Dynamics is actual a pedal that does it's processing in the digital domain. (This isn't a good example for using with an LS-2 though as it already has a blend on - but just illustrates the point).

Hopefully Bruce from TC will be along shortly to help things along!

[quote name='0175westwood29' timestamp='1358802464' post='1945422'] no probs, the only problem is i getting the low rumblings of gas lol andy [/quote]\ Same here! It was searching that got me in to this trouble! - Ok, I will post back when I have had a chance tr try the pedal out. I think if it is what I am expecting from the video's suggestion, this could be a winner!

Hmm interesting! No not yet. I think it's about time that there were some apps for speaker box proofing other than the ones that have been around for donkeys years. (Not that I am slating those other applications - they are great too, but most are PC only, unless I am mistaken?)

I had to look the name up as I thought it was my particular favourite chinese instrument the du Xian Qin [quote] [color=#333333][font=arial, sans-serif][size=3]The duxianqin (独弦琴, pinyin: dúxiánqín; lit. "single string zither") is a Chinese plucked string instrument with only one string. It is played using harmonics, with the string's tension varied by the use of a flexible rod manipulated with the left hand.[/size][/font][/color] [color=#333333][font=arial, sans-serif][size=3]The duxianqin is nearly identical to the Vietnamese đàn bầu, from which it is likely derived. Chinese sources describe it as being an instrument of the Jing (also spelled Gin or Kinh) ethnic group of China, who are ethnic Vietnamese living in China. Sometimes the body of the instrument is made from a large tube of bamboo rather than wood, which is more common in Vietnam. [/quote][/size][/font][/color] [color=#333333][font=arial, sans-serif][size=3]Not a great quality video showing off it's beautiful tone, [/size][/font][/color] http://www.youtube.com/watch?v=TElucXpWDkA

My only suggestion now is to have someone take a look at it for you if you're not favouring the soldering iron option. A component on the pre could have failed or failing - but it'd be hard to say what exactly.

Blimey! Good work! I'll check it out now! Thanks for searching!

[quote name='0175westwood29' timestamp='1358780703' post='1944839'] any videos or demos of the sp? im gonna be looking for a small comp soon, anyone tried one of these on bass? andy [/quote] No bass videos at all hence my asking. I'm going to see if I can get a demo model in to try.

Indeed it sounds great. I love the extra fatness achieved when mixing this and a blended distortion together, but still being able to achieve that 'kick drum punch' that you'd usually lose using a distortion pedal that by it's nature naturally 'limits' the signal also.

I am a project and team leader of a media based project delivering sets of workshops to participants with complex and special needs. The project, based at the prestigious Snape Maltings in Suffolk is very specifically designed to meet the needs of the participants. We use music and other media (along with quite ground breaking technologies) to create a brilliant environment to deliver our workshops and showcases each term. The project is a huge amount of fun for all involved and is ran by a very experienced team. We concentrate on using the project to build key and soft skills, (communication, confidence, life skills for example), delivering training and mainly, showing how easy it is to derive a huge amount of enjoyment from making music. I've proud of this project because it really is so rewarding. Our end of year shows have been truly stunning. Community Music is very important and it makes me sad to see that some really great worthwhile clubs are having to struggle due to cuts in funding. [url="https://www.facebook.com/aldeburghmusic.education?fref=ts"]https://www.facebook...ucation?fref=ts[/url] .

[quote name='51m0n' timestamp='1358771581' post='1944619'] No, parallel compression is a completely different thing from changing the attack on an inline compressor. You can (and probably would) set up parallel compression with a (far) faster attack than you can an inline compressor, since the dry signal is going to contain all the transient info you will need, so you get all the benefit of that nice juicy spike with all its associated top end and so on, whilst at the same tame beefing up the meat of the sound as soon as the spike is passed. Even then this is a very differetn thing from carefuly regulating attack, since you tend to have enough of the dry signal to convey dynamics as if there were no comrpessor running at all. Its quite tough to describe precisely why and how it can be so different, but I promise it is (sorry!). Because the compressor is parallel you can 'get away' with far more overt compression than with an inline comrpessor, with all the benfits of massive amounts of compression (really fattened punchy sound) with far less overt side effects (diminished dynamic range, and asssociated nasty feel to playing into a really smashed compressor, implications of compressing the nuts out of the transients leading to a far darker apparent timbre than you want etc etc). Upwards compression is not striclty speaking, exactly the same as parallel compression, although there are similarities, to the extent that a lot fo the time people suggest parallel compression in place of upwards compression. [/quote] A great description! Better put than my post. - I totally agree and that's exactly why I use it. Really 'squishy' compressors with a blend work really well. Certainly units based on the 'Ross' compressor with the added blend control (and sometimes a way to soften the attack) adds a really nice warming effect to HiFi sounding basses and is certainly one of the reasons I am interested in pursuing further. loop-blended with a nice bass distortion I think it'd be a great pairing.

[quote name='Dingus' timestamp='1358769781' post='1944572'] Would you agree that Made In Japan still means quality, though ? Some of the best made instruments I have had in my hands in recent years have been made there , and I think that the Japanese don't just talk a good game when it come to making things properly ; more often than not they deliver something made as it should be . Made in Japan is a mark of quality nowadays , and has been for a long time . As you point out , that isn't going to come cheap anymore . But four grand ..? [/quote] I am very very pleased with my 'non-export' Precision. I did buy it when the price was low, but even now, it still stands up against current priced premium european models.

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[quote name='noelk27' timestamp='1358455356' post='1939649'] Rumour is Aria was set to commission FujiGen to build these reissues. Did you see anything mentioned in the product literature to confirm this? Or did it go back to Tokai? [/quote] I can't remember! I have to admit. I'll find a link to my reviews later too.

Hmmmm, its gonna be hard to make a call now that everything else has been exhausted. Certainly if you have ruled out amp, cab, battery and cables, then there's only a few bits left. I cant see the jack socket being to blame so will point my suspecting finger at the preamp.