Dood

THESEEEEEEEEE!!!!!!!!!! Absolutely BRILLIANT! https://www.daddario.com/products/guitar/bass-guitar/xl-nickel-bass/exl160bt-nickel-wound-balanced-tension-medium-50-120-long-scale/ 120-90-67-50 That 120 is perfect and, I found on my basses I didnt need to adjust my nut to fit the heavier gauge. (Which may just be lucky)

Thank you, that's really thoughtful this bass fam' Love

Hey @PatrickJ I have completed and submitted my full review of the Cort Space, yes! I have been delayed (pretty much all year so far) with on-going poor health and I've been struggling somewhat. Expect the review to go live soonish. Honestly, and, maybe this can be a hint towards my review in general, I didn't notice any volume taper issues with the example sent to me. What amp / set up were you plugged in to? Could it have been an input impedance issue? Overall, I am pretty pelased with the bass Cort sent me to review (along with another I have covered) and, if it were the green version, I'd have been thinking about selling a body part to hang on to it a bit longer!

I’m looking to find out who is *currently* doing pro instrument refinishes in the Norfolk area. I wouldn’t be adverse to sending an instrument away for refinish but preferably a bit nearer to me for now.

I'd echo this. I think it seems like I rag on cheap IEMs on BC, but, there are many reasons why I'd not suggest buying cheap universals and generics anyway. There's also the rest of the chain to take in to consideration too, like that of the cheap radio, what is being sent to your IEMs? is the mix just tsraight out of the PA or do you have the luxury of being able to high pass / compress / EQ and, even go stereo? I maintain that the reason most people feel isolated and find IEMS dificult is becuase it costs money, time and a bit of understanding to do it properly. I have endured some truly painful in-ear mixes over the years, especially as like you @GoodShowSir, I suffer from Tinnitus and have an ENT on speed dial lol. I'd highly recommend to any musician getting your ears checked out regularly anyway, as you can plot hearing damage history and find ways to help protect those very delicate lug-oles!

It's one of those cool phrases that has turned in to the musical equivalent of a meme, like 'the lick'. Musicians all nod knowingly with a smile when they hear someone shoe-horning it in to their solos. I know I have squeezed in my favourite nods to my favourite musicians more than once!

I've got a Speed Editor for Resolve and I've just picked up a cheeky deal on a secondhand StreamDeck. (I've been using a demo of the iPad version and it has massively sped up my workflow). I'm loving the tools I have at my disposal right now! - Not to mention many of the plugin deals I have picked up here or in FB groups, it's absolutely bonkers to think what we can do 'in the box' now versus when I first started as a'recording artist'. Blows my mind and I love it!

I've used the 'archive' method so I can run both 10.8 and 11 on the same machine, just to be on the safe side. I've just upgraded the 'main copy' to 11 and everything seems to be working as it should do. I'll have more time to play with the new functions over the next day or so. On description alone, I can't see anything that won't be a benefit to my job in some way. I SO used to hate LP9 and now between this and Davinci Resolve, I feel incredobly fortunate to have these tools at my disposal every day! I suppose my review videos are just gonna have to get even better now! ha ha!!!

I’d love to know if they have managed to make the device noise quieter. The noise floor on the outputs was distractingly high on the H1n. Usually down to self noise produced by cheap electret mics or op amps. What do you think? Quiet?

The natural body with the tort looks super, super nice! (Can't help loving the Deacon-esque vibes!) The four basses I was sent to video review were all very, very good for the money. Genuinely impressed (and definitely not paid to say nice things). So, yeah, I do want a natural precision... ha ha!!

In the scenarios that I had used it in up to the point of recordingt the video, I was pleased that it didn't seem to hit it's maximum microphone SPL. There were times, in very loud environments certain settings on that particular did eventually clip and tehrefore I'd suggest going for the H4 models - the non-32 bit version for example having a theoretical maximum microphone SPL of 140dB. Always set the levels manually, I am not a fan of autogain doing it's thing by itself as sometimes doesn't capture loud transients and.. well, that hurts through sensitive IEMs As @EBS_freak points out, there are many different reasons ambient monitoring may be needed. Even on a 'silent stage' just hearing your band mate calling the next song off mic, or hearing the audience is a useful. I like using the external device when a band doesn't mic up a whole kit (because the venue doesnt need it); the ambient monitor is a nice way to blend acoustic drums back in to an 'ampless stage' earphone mix. I can think of other scenarios, but you get the idea. I'm moving to either the Sensaphonics system or something similar with the mics on the IEMs themselves, as I love that I can leave everything on, walk away from the stage and use the pack and IEMs as active hearing protection when the DJ starts banging out the "classics" at 1 billion decibels ha ha!

Here's my (trimmed back) in-depth review of the Barefaced Audio flag ship speaker cabinet, the Big Twin 3! https://www.bassgearmag.com/barefaced-audio-raises-the-bar-again-bassic-review-barefaced-audio-big-twin-3-bass-enclosure/ The review also includes an HD video, pasted below. As always, bass reviews sound rubbish on little teeny tiny speakers not design for low end, so grab some decent cans or hooj floorstanders to appreciate the tones! (Ok, so YouTube is gonna strangle the audio, but hey, what can I do!)

Here's my original video about using Zoom recorders for ambient mixes. I'm building a solution (when I get round to it) that could be an interesting tool. The soldering iron needs to come out!

I forget how I used to do mine, but I think that yes, you'd either need to set the input for your bass to mono, or, worse case, buy an adaptor and send the mono signal in to a left and a right input at the same time if the previous way isnt an option - or, instead of an adaptor take the left and right inputs from a pedal or preamp.

That's the UK Dist' I'd be given too, hmmm, I find the universals not ideal as my poor lil ears have narrow canals. Full moulds are really the best way for me and if I were to, I'd need to go down that route rather than risk an ear piece fall out mid performance.

I do have a range of cabinets available including a notable FRFR beast, so it will be an interesting experiment that I may include in my Bass Gear Magazine video review.

I've asked for a technical contact at Boss, so I can probe further. The hardware hasn't arrived yet, so I haven't been able to try it myself. I'm intrigued as to how the calibration works. The calibration sounds heard aren't unlike those used to profile equipment in the likes of 'profiling processors'.

I think its like anything in IEM, when it is done properly, you really don't wanna go back to poor mono, congested and painful in-ear mixes on cheap IEMs. I guess it also depends on what you are happy to live with and whether or not the band budget will stretch to what is still perceived as a bit of a luxury.. hearing yourself properly! Horses.. courses..

I have a set in to review right now and it's a game changer!! Absolutely and utterly brilliant. I love th eonbbaord EQ and limiter as well as the extra onboard functions. I set the volume control up so I could quickly switch to hear people talking and then right back to gig level without straining, or having to remove an ear piece. Expect a video very soon!

I do still have my Marlin Sidewinder, my very first bass bought in 1989. It's not in a playable state at the moment though. However, that bass most definitely influenced my purchase of the bass that I have played the longest, my (1989) Power Jazz Bass Special (as seen in many of my videos). Hmm, thinking about it, was it the PJBS in magazine adverts that infleunced the purchase of the Marlin?? Which came first, who knows?? ha ha!! This isnt my Marlin , THAT advert from Bass Player Magazine in 1989. (Which blows my mind to think that as a teenager, I'd never have dreamed I would write for my favorite bass magazine in years to come! It took me until around 2003, maybe as late as 2006 to get my first Power Jazz Special. Here's what it looked like stock. And here's what it still looks like today with my usual chameleon flip paint finishes, EMG electronics..

I've more to add to the list and will do that as soon as I can. ITS GROWING!!! (You should see the size of my to do list as well! I'm not going to be running short of reviews any time soon, LETS DO THIS!!)

I won't let ya down!! In a world full of 5 minute review videos where the youtuber doesn't know their D Class from their DSPs, I am a slave to the details 😁. I'm really looking forward to this one, especially given the collection of onboard effects on paper seem really useable for the likes of the function / dep player.

I usually mention what strings I’m using, but if I don’t it’s D’Addario Roundwound 😉

Katana 500 and Cab arriving any day now for my usual 4k deep dive 😉