ChunkyMunky

Up for grabs here is my SWR SM900 (pre-Fender). I bought this as a one off gamble as I'm a huge fan of the SWR sound and I was most pleasantly surprised by it. It's currently set for a 110v output but I will include the external power transformer so your potential new acquisition isn't suddenly moonlighting as a popcorn machine. I can also include the rack case I bought for it (stripped off it's gawky carpet finish with the intention of retolexing it to match a creme Fender Vibro-King combo the guitartist in a band I play with has. The words of Louis Balfour would say "niiiiiiice..."). Precarious financial situation at present is forcing this (exceptionally) reluctant sale. I'm based out of West Sussex and if you have any questions, please feel free to ask.

Up for grabs is my SWR Mo Bass head. An amazing sound and one that encapsulates the 'SWR' tone that it's known for. Precarious financial situation forces a reluctant sale. I'm based in West Sussex and if you have any questions, please feel free to send them through. Thanks!

This is so tempting.

Hey, y'all! As the title says. It's your favourite overly inquisitive engineering student back once again. Anyone here into CNC stuff at all? I'm looking to get some stuff going with a Workbee CNC kit and go from there. Just curious to see who else is out there?

Ah, what a great question. 😎 So, when I went to learn this kind of stuff, I found that it takes a different mindset and approach to it. The bass isn't going to be the only thing quantized to the track. The drums/percussion and even other bits within the track will be quantized. Essentially, the tracks are divided. (for the techie geeks, engineers and nerds amongst us - I wonder if how we refer to subdivisions of bars in sheet music perfectly correlates to binary, hexidecimal etc? 1-2-4-8-16-32 being the denominator to a note subdivision?). In your mind, how do you think a digitally expressed music motif would be played? Under the constraints of the technology of the time, I'd think of these; - Dynamics. They usually stay relatively the same throughout. - Do they drag, push or play dead on in the pocket? Dead on. - If you can read music, look at the sheet as if it's a grid divided into 16th notes (32nds if you're playing the likes of Michael Jackson's 'Speed Demon' 🤣). Whilst it's also a great groove exercise, it's also helpful to see where the bass synchronises with the other instruments on the track. If a track is all digitally composed, they will be exactly on. I can't imagine the tolerance (or 'humanising' as Logic Pro would tell you) to be very much, if at all, in terms of 'pocket'. - On the topic of eliminating 'humanising' in your basslines, I'd recommend some exercises that'll not only help your playing in this realm but they will make your playing so much cleaner in general. If you set your metronome to below 15bpm, leave it running and see if you can hit your notes as accurately as possible to that click. Don't be tempted to embellish or go astray from it. The signs of agitation and frustration are symptomatic of significant improvement. Notice how different your playing is afterwards and be prepared to grin like Cheshire Cat, my low end friend. I call this 'Anti-microflamming'. - If the bass line goes below a standard low 'E', can your 5 string handle it without going 'floppy'? Your ye olde Casios and Yamaha DX-7s never have/had this issue. - A bass mute (I know, Motown, right?) is surprisingly helpful. Pop some foam under the strings and right by the bridge for an experiment. Play along with the tracks you so wish to and see if it helps your playing. I do hope this helps and feel free to ask any questions. If not, my apologies for over indulging here.

How about a discretionary test on the distance away from a cabinet and how that cabinet sounds at distance? See if the end results matches our hypothesis? (Ignore if it's a silly idea, a bit sleep deprived here)

Any idea what you fancy building? Fancy doing anything different at all?

Though the bargains are few and far between, a quick look on t'web yielded this; https://www.gumtree.com/p/guitar-instrument/fender-jazz-bass-62-ri-mij-made-in-japan-93-94/1335587598 I mean, not bad for £500, right? MIJ Fender stuff certainly has gone up in price since I last checked.

It makes me wonder about the shipping and the reduced cost by ration to one another. Then there's import taxes and all sorts of fun. I'd be a bit weary and honestly, I reckon you could easily find the same bass around our neck of the woods for around the same price or even lower by comparison to the cost of the bass, shipping, imports and the nervousness of dodgy shipping. Mind you, if you're really that keen, go for it!

How I love this thread. I'm going to use all of the transcriptions as sight-reading practice

How about a 'Valve vs Class D' blind test? I'd be happy to throw my SWR in!

Would you rather play the wrong rhythm but hit the right pitches? For me, the rhythm is far more key than the pitch, if absolutes were to exist in this. As a little thought experiement, try this; - Find a small theme, a melody, line or something. - Play the wrong pitches deliberately but keep the rhythm as tight as possible. - Play the right pitches but play the rhythm as poorly as possible. - Observe the difference and make your conclusions from there. Don't worry, I ripped off Victor Wooten on this. I tried to find the video but couldn't. If you can't play the lick intricately and rhythmically sound, don't overcomplicate it. It's very similar to when a drummer tries an audacious fill and makes a hash of it, same concept.

There you go! Just noticed the D is ever so slightly out of tune but just whacked a camera on and went for it. Hope it helps.

Just transcribing it for you. Give me a moment and I'll post a video below.

One I won't miss this time round! Missed the last two right at the last moment and these have always been great.