Dood

Whilst I am here, has anyone done real-world latency tests on wireless units to verify what the manufacturers say? (I'd be more than happy to do the tests, I just don't have the systems to check!)

The G10S uses a TRS plug so it can charge in its base. Active basses use a TRS socket to switch on the active circuit when a lead is inserted. The two methods are incompatible and thus to make it work, you need to use a mono 1/4" adaptor or "mono to mono" extension lead. I've not tried it myself, but this is my understanding of electronics.

Yes, don't get me wrong, I can do it manually yahda yahda, and there are the benefits of that, but for the piece of work I do which usually needs it, I don't get paid enough to warrant the time for manual editing. Well, there's a balance to be had, I still care about the overall quality.

In fairness, stock plugins (I use Logic and Mainstage etc) are very good and are more than capable at getting amazing results.. but GAS... lol, you know me only too well! It turned I. To a career path after all ha ha! Sometimes a plug-in or suite of comes along and just makes sense or makes my life so much easier. MAutoAlign fixes problems with phasing when recording multiple instruments (like a whole drum kit) - which is brilliant as it saves me so much time. So, I mean, I like plugins that speed up my workflow ha ha! Or sound epic immediately (Scheps Omni sounds SO good for bass). I’ll try not to make your wallet wince and stop typing now

I’ve got the CLA signature set, except the Mixdown plug-in. For some things they’re brilliant but I do sometimes reach for Toontrack’s EZMix and the artist packs for creative mixing. I’m also part of the UnitedPlugins fam’ and there’s some really good tools available from them too. MAutoAlign is one of my favourites utilities right now and the Fire Suite mastering plugins add a nice dimension too.

I’ve bought a few Waves plugins recently, including the scheps omni channel, which is sooooo good! Can’t believe it was 20 odd quid considering the list of producers that have endorsed and created patches for it!

https://www.guitarinteractivemagazine.com/back-issues/issue-43-steve-vai/ Sadly no longer available to read online.

I cant find it! Hmm, I hope it's not one of the reviews that got lost in an IT issue that the magazine hosting suffered a while back.

Good question! I'll have to google my own reviews ha ha! One sec...

Interesting that you mention Voyager as in all the years they have been around and in all the albums they have released, I only learned about them a few weeks ago - and I love 'em!!!! Brilliant. Dead Letter Circus, Karnivool, Soen, Voyager, VOLA - I really like the big atmospherics and melodies with chunky guitar carnage underneath. Which of course means Devin Townsend gets a mention. I've a massive soft spot of David Maxim Micic, absolutely brilliant.

TL/DR. haven't watched the whole video, but has anyone mentioned that the method of recording the audio was never ever going to reveal the tonal differences clearly between the instruments, I can hear just a huge amount of room modes interfering with the captured sound. That said, I rather like the look of these basses and if nothing else will let my curiosity find some more videos of them elsewhere. So, job well done in that respect.

Maybe it’s just the quality of the Ibañez stock circuit? It’s built to a (low) price- and its passive bypass might not be designed to such high standards as the East circuit. For example more components, especially cheaper ones left in the circuit can create more noise, impedance loading and possible degradation of signal. There are ways of producing an effect or preamp which will work, for a cheaper price - and those more complex circuits that produce better results... at a cost. so, to sum up, a better designed circuit will produce better results, but will cost more - and that’s not something the bean counters like when it comes to profit in already tight margins of mass produced products.

Yeah, the latter smarts somewhat. I've decided that living with a cat now is a far safer bet financially.

Bit like this! - a 1976 Aria Pro II - another bass I guess I shouldn't have parted with!!!! It was more F*nder than F*nder!

Awwww I forgot where that one ended up! That body is so resonant! Really lovely bass, kicking myself for having to sell! (John Deacon, by the way 👍)

Thank you, that's kind of you to say! I'd love to be able to step it up and get more creative with them, maybe when budget allows!

Many years ago, Iron Maiden played our favourite (sadly long since gone) local venue as The Nodding Donkeys. The venue was owned by Maiden "staff".

Check out ChordBot on IOS and HookPad via your web browser as two other really cool tools for chord sequences. Mapping Total Harmony Pro kicks things up a gear if you want to get geeky. I have it on IOS.

I have over 350 review videos in Guitar Interactive Magazine - which is a free mag every month delivered to your inbox (subscribe for free) . http://guitarinteractivemagazine.com - a lot of the video reviews are also shared on YouTube: https://www.youtube.com/user/iguitarmag My own YouTube channel, I had planned to start working on but life has a habit of getting in the way. You can find it at http://www.YouTube.com/DanVeallBassist and I would really appreciate some subs. For those who like a tech read, I write every month for Bass Player Magazine in my own column called The Last Note. Anyone wanting video demos, voice overs or reviews recorded, well I can do that too and I'm freelance and well cheap inquire within, as they say.

It's a beauty! I love it!!!!

And here is current "Dood" from that very session recording the SH-1 review. It's a 1976 precision, Ash body and a very skinny slip of rosewood for the fretboard. I'm gonna have to agree, I'm in the "black pick guard" camp, even though my passion for natural P basses does stem from John Deacon's sunburst model that he stripped the finish off. He left the original tortie guard on it all the way up to the point of having the refinish in black with gold hardware around 1985. (Yes John did also have a second precision that he stripped the finish off too, which is often identified by having a silver Fender logo rather than the black "TV script" style logo of what became his "main" bass.

This is my first natural P bass that I stupidly sold about 25 odd years ago and apparently lives in a studio in Suffolk somewhere. If anyone sees this bass, please let me know!! Note the pickups and the holes drilled near the E String.

I am genuinely touched! I've been having really rubbish day today and this has absolutely brightened it up. Yeah, still have a leaking sink and my To Do list is longer than my arm and I can't remember what free time feels like, but this.. THIS! has made my day