Dood

I can’t remember off the top of my head but I think the standalone app has its own audio settings to adjust to sort out the latency, whilst the plug in version will use the host settings. (Logic) I’ve been able to easily run my buffer at 96 (whatever the units are lol) but I get negligible latency even at 192 using my 2i2. That said, my host is a bit of a beast though lol. Oh and yes, plug the interface directly in to the computer.

I used to work with a guitarist and we would often laugh at how we learned things. Back then, before I figured out how I could speed learn, it would take me a long, long and sometimes tough time extracting and learning bass lines accurately. However, when I had, it would be in my head for years even if I didn't play the song. I'd go to jam sessions, sure that I wouldn't know a particular song.. but, when the count came up, things seemed to fall in to place. The guitarist I worked with was quite the opposite. It was insane to watch him remember huge sections of shred guitar solos even after one or two listens. We would play them in the rehearsal room and it would be bang on. Come back the following day? Gone. We had to relearn the guitar parts!

Now that is rather interesting!!

Yup, my review above used the 2i2 Gen 2 with zero issues and I am very fussy about latency!

Absolutely brilliant interface!

This reminds me of the time I received a phone call to play a last minute gig the following day because the headline band had dropped out leaving everyone in the lurch. “Yes!” I said, “What band am I playing with?” “Oh, there isn’t a band as such. We’re putting a band together right now...” By the time the band members had been confirmed we had just 8 hours to perfect the headline gig, including the 1 hour journey to the show itself!!! It was brilliant flying by the seat of our pants and the audience loved it because they all knew what had happened. We called the band, “The Last Minute.”

If that is the case then it might be a good idea to know what the pedal is. From what you are saying, I assume the centre positive power connection you refer to isn’t a 2.5mm barrel type?

I did pay more for my '76 USA P bass, though that was from a shop. I didn't mind though as I was happy with the price; it was absolutely what I wanted and very much pleases me to this day. I can only really echo the comments above about value. £1400 would appear good for a clean instrument without issues even if it did bare scars from years of use. Mine certainly does. I agree that a 'concours' example would be devalued by the addition of an aftermarket pickup, but at £1400 I don't think this will be a showroom piece. Steve is right. If it plays well then it's a good price, with the added tonal options. Very worst case if you bought it and wanted to return it to original is that you remove the added pickup, have the slot filled and then get the body resprayed? (Unless yours is also a natural finish!!)

and then you get a company whose compressor controls work in the opposite direction "to that of modern compressors". A certain, well known studio classic!

Seems a convoluted way to describe what the control does, compared to the excellent column about Compression in the January edition of Bass Guitar Magazine... /BlatantPlug

An update to my previous post: I have now recorded reviews of the Darkglass Ultra plug-in and Parallax. I don't think the Parallax review is live yet though. Both are excellent plug-ins!!!

Zombie threads, it seems, often have trouble coming to life again, but this one has kicked off its shoes and gone for a paddle in the crazy sea. I love it!

"Bra and Suspenders too sir?" "Multiband compression..."

IMHO, after factory set up, every instrument should be looked at once they have settled wherever they are going to be sold (shop etc). The "final" set up here should be, as FDC suggests a middle ground where the set up is as low as it can be but still allow for no buzzes, rattles and produce a good tone. Everyone then will know the action can go higher to suit them. Conversely, when taking an instrument off the hook whose action is sky high, well, the alarm bells start ringing. Why? well, just one example would be that a much higher action at the bridge could suggest a problem with the finish of the fretwork. Lifting the action higher can hide those poorly installed frets causing rattle like nobody's business. Buyer won't know this until they have got the bass home for a tweak. So, if a bass plays badly off the hook, there's a good chance I will leave it, unless a set up is offered for free. Like FDC says, if I want to buy a new car, there's a difference between just having to move the seat back/ adjust the mirrors, verses the clutch biting point being right at the top of the pedal travel, or the headlights facing the sky.

Hmm! Well, it's funny as it's something that crossed my mind many times over the years, but I never actually got round to doing anything about it (you know I tinker with bass gear!) I guess cost is one thing but maybe there power consumption overhead could be a factor? Nah, actually I don't really buy that. OpAmps are capable of low power consumption, so a simple circuit could be included. That said, I use "non-X" versions of EMG's active pickups. Whatever is going on with them, they definitely bring lower volume playing up in signal - and, they have a really high output which means you can play much more lightly for the same "kick". So, there's a form of "levelling" going on there I suppose.

Thank you for posting - I think that being able to add examples of a particular sound to a thread, well, I find it really helpful - hopefully others do too!

Something strange happened with the image I added to my OP. I've edited it. Who has read my first column? Anyone in the US seen it in Bass Player Magazine too?

Recently there was a thread on BassChat where the OP asked about switching from pick to fingers mid-song. I'd mentioned that I use a technique that I think I must have lifted from guitarist Paul Gilbert. I'd meant to find a picture or video demonstrating my technique. Well, whilst I am preparing lessons for students, I found this video that just happens to include a very similar technique, courtesy of Fretless Monster, Tony Franklin. The "pick hiding" technique is mentioned around 1.20 in the video: Hope it is of some use, as well as the rest of the video!

Over to you @Sibob..

It can do, but it can’t fix every problem. The features are very useful though.

Just like me! I was totally planning to play it safe, but ..well, I seem to suffer from IT G.A.S too lol. Glad I went for it in the end. Agree that it would be overkill for basic tasks. I’ll have to see if I can find the “walkthrough” that showed me that it was possible to keep both drives in. My 27” iMac had a DVD drive - there’s space under the drive to slip the SSD in and the cables I bought were able to feed through the casing to the mother board. Yes, once I did the clone, I formatted the original drive and used it as an “archive” drive to move data I didn’t need all the time, or when speed was less of an issue. Then, I bought a 2Tb external USB hard drive that I set up as a TimeMachine backup for both of the internal drives. Speaking of which, as my iMac is “business critical”, like above, I have a TimeMachine backup covering all of the connected drives. Again, I also use CarbonCopy as a belt and braces “zero downtime” backup. It is scheduled to do a clone of the system SSD every night automatically. Should the internal SSD fail, I can instantly switch to the cloned drive and carry on working like nothing happened. (Meanwhile I can get a new SSD, install and do a clone in the opposite direction.) I appreciate this has nothing to do with the above OP, but others may find it useful, especially for those running a studio etc.

You gotta check out some of @Sibob’s “P bass and flats” recording work. Sublime playing and that toooooone!