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dodge_bass
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Posts posted by dodge_bass
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5 hours ago, lee650 said:
I've got a single version of one If these in tweed. I've had it 12 years, it's bombproof😁
Would you mind showing how it holds two basses?, as it appears to have one zip.
Cheers
Me too. They are bad donkey!
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3 minutes ago, Bunion said:
It only went out today I meant to mark it up earlier
S'cool, I was just bemoaning my missing it. Glad you shifted it.
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6 minutes ago, Bunion said:
Damn sorry sold it forgot to mark it up.
Bums!
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Still available?
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Eee what a bargain. Won’t be here long.
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Lush. Any trades?
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34 minutes ago, owen said:
Different coloured! Genius! In 3 years time when I get my next ones I will be doing that.
I think this might be the first time in my life someone has called me a genius. No doubt it will be the last. But that's fine. Once in a lifetime is enough for me
Yeah, the first set I had were see through - hard to find when dropped and I was always struggling to figure out which ear they would go in. So second time round went for coloured. The open mouth thing though when getting the moulds is genius - I've noted with my actual in ears that the fit is better when I open my mouth - makes for a long gig with lots of drool if I keep my mouth open though....if I ever get any more made I'll be sure to do that.
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On 09/08/2021 at 15:01, owen said:
Get ACS plugs.
Get coloured ones. They are easier to find when you drop them.
Get them on strings so you will drop them less.
Coloured ones do not show ear wax like the clear ones do.
When you get the moulds done ask for the things which wedge your mouth open. You get a better seal.
My tinnitus rolled into permanence in a quiet harp, piano and EUB rehearsal
You will get used to it. Regret is useless, it will not change anything. Do everything possible to make sure it does not get worse.
But if you are reading this, do not have tinnitus, are in loud situations, and do not have earplugs I do not understand your behaviour. Obv this is for the casual reader, not the OP.
Even better get different coloured ones - I got Red for Right so I can easily grab them on a dark, noisy stage and stick them in & no faffing around trying to figure out which is left and right. Strings is a brill idea too. Overall ACS plugs via Musicians Health. They are brill. Job done!
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The Three Leaf Octabreve and the OC2 are both killer octave pedals. Search over!
Source Audio C4 is insane as a synth pedal. Search over!
Empress Compressor is brill for bass. Search over!
There’s still a few pedals to try out but basically my pedal GAS is currently at an all time low.
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Bought off here as new a few weeks ago as always wanted to try one. Turns out it's not exactly what I was looking for so am moving it on. This pedal is as new with original box - not easy to come by. Price includes shipping. Any questions drop me a PM.
**price drop and willing to entertain trades**
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10 minutes ago, lee650 said:
Lovely! So do you have all of the effects (incl compressor) in the FX loop?
No. Only the OC2 & Groove Regulator. Without the FX loop the signal chain is bass -> thumpinator -> compressor -> Nobel
Compressor just operates lightly when playing clean and when FX loop activated it gets pushed a little harder. Thumpinator really clears up bottom end especially when OC2 on and ensures compressor isn’t being pushed too hard.
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1 hour ago, krispn said:
I see you’re using rhe bass cut engaged then boost the bass a little on the Noble. That’s where it really shines I think. It just shifts the low end to the sweet spot.
Yeah. Something I’ve been experimenting with recently. Works really well
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7 hours ago, Al Krow said:
A couple of us seem to have succumbed to the charms of the Red Panda BitMap2 over the past month. Agree that it doesn't fit into the "not crushing your wallet category" for sure - but mentioning here, as this seems to be the most comprehensive BC thread on bitcrushers and sample rate reduction ('SRR').
I got teased by a mate recently that it would likely be something I would probably never use live however, interestingly, Billie Eilesh in the title track from her new album makes very clear use of bitcrush / SRR, particularly prominently for the last 25 seconds from 4.30 to 4.55 although it's evident elsewhere in the rest of the track.
Funny enough I do exactly the same thing here (but just on the bass) at about 4mins - rising arco bass line which turns into bit crusher - maybe she heard this before they finished producing her track!
https://havband.bandcamp.com/track/slangpolska-rakkaus-on-lepo
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7 hours ago, Al Krow said:
A couple of us seem to have succumbed to the charms of the Red Panda BitMap2 over the past month. Agree that it doesn't fit into the "not crushing your wallet category" for sure - but mentioning here, as this seems to be the most comprehensive BC thread on bitcrushers and sample rate reduction ('SRR').
I got teased by a mate recently that it would likely be something I would probably never use live however, interestingly, Billie Eilesh in the title track from her new album makes very clear use of bitcrush / SRR, particularly prominently for the last 25 seconds from 4.30 to 4.55 although it's evident elsewhere in the rest of the track.
Yes that's lovely - reducing the sample rate slowly. Sounds killer.
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I don't know if I ever posted my main pedal board on here but here it is. Dual input with FX loop and tuner out mute courtesy of the Bright Onions looper and all power by the Noble DI. Sounds great, in a 70's funk / soul kind of way if you like that kind of thing
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2 hours ago, AndyTravis said:
It is very MJ, but has a bit of a dirty loops feel going on - with a bit less jazz about it.
very lovely - if only I could find a band/singer like that so I could make a really bad job of the bass parts.
Well it’s the keyboard player / singer from Dirty Loops....so that might be why. It’s kind of Dirty Loops Lite isn’t it?!
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7 hours ago, Nickthebass said:
@dodge_bass - anything you can help with?
Howard - Bass Doc. PM me if you need his deets.
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I’ve got a transcription somewhere - drop me a PM
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4 hours ago, Quatschmacher said:
No one has mention the Noble preamp, which Shaun Hurley describes as a B15 in a box. Though they are spendy at $1100.
https://nobleamps.com/preamps/
I believe our residents @dodge_bass and @andybassdoyle use these, perhaps they can chime in.
Yes the Nobel is ace for sure but given its costs (it’s crept up a fair bit since I got mine) I didn’t mention it. I absolutely love it and it works great for the type of stuff I record (funk / soul / rare groove).
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On 05/06/2021 at 12:10, fretmeister said:
I run HPF last. I don’t see the point in putting it before a compressor that will try and boost the stuff that I’m trying to cut.
Might be personal preference that - I run my HPF BEFORE the compressor so I'm not pushing the comp more then it needs to be pushed. Works for me as I'm sure yours works for you.
@bob_atherton try both ways and see what happens to your sound and which you prefer would be my advice.
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On 28/05/2021 at 11:51, Doddy said:
I often hear the point of "I've never done a gig/ I've only done a handful of reading gigs ever", and that is totally cool. But, a big part of that is that if you don't put yourself out as a reader you won't get calls to do gigs that require it, and there are a lot more reading gigs than those mentioned in the video.
I also don't agree with the insinuation that readers can only read and can't come up with lines. In fact, I'd go the opposite way and say that all the best improvisers who I know either personally or via fame and reputation, are generally solid readers too.
It’s a really interesting topic. As a player / teacher / educator I’ve never known anyone who didn’t benefit from learning to read. Not just reading the actual dots on a gig but all the musical skills that come with it (understanding rhythms / time sigs / harmony / stylistic approaches etc). And I’ve never known anyone feel hard done by when working on their ability to play by ear. Developing both these skills to a high level is hard but really important and the division / dichotomy between them is false. They’re not in opposition but complimentary, it’s just that they’re not often taught (or developed) in conjunction with eachother.
I read really well. It’s opened so many doors for me as a player. But I’ve also worked on developing my ear because that also really helps as well with transcription and with creating original music. I also make all my pupils learn to read whether they intend to do reading gigs or not because it strengthens their general musicianship no end....and you never know when it might come in handy! My work as a player has moved from original work (no reading) to lots of reading work (theatre / orchestral / function gigs) now back into lots of original music with little reading....careers change and develop and having both skills is never going to be an impediment o your playing. @ped makes a great point about big band charts where you might be expected to read notated figures, improvise bass lines on the spot and read / ignore written parts in favour of creating something yourself. Essentially using all these skills side by side.
Yeah, the first set I had were see through - hard to find when dropped and I was always struggling to figure out which ear they would go in. So second time round went for coloured. The open mouth thing though when getting the moulds is genius - I've noted with my actual in ears that the fit is better when I open my mouth - makes for a long gig with lots of drool if I keep my mouth open though....if I ever get any more made I'll be sure to do that.
NBD - reunited with my '71 P!
in Bass Guitars
Posted
Nice one Norm.