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Passinwind

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  1. Yep, In the US there are very specific exclusions on insuring vintage instruments with our major shipping companies as well, and it's completely on the customer to determine if they need third party coverage.
  2. It means they needed actual NAMM members to pay actual US Dollars to promote NAMM stuff this year. It's a code word for "job security", mostly.
  3. Here's one with a roasted ash neck that I worked on the electronics for a couple of years ago: :
  4. Great to see more progress John. The EQ test plots you sent me look really good, and pretty much just as expected.
  5. In many cases these days you wouldn't necessarily go back to the cab from the DI. One speaker level output to the DI, one to the cab. Attenuating the signal passively is trivially easy, it just requires two low wattage resistors.
  6. Yep, I use mine for both time based effects and clean/dirty noise toy blending. I have the send level nominally set up in between instrument and line level and it works fine with both pedal and rack effect units. The return is optimized as an Aux In and comes before my variable high pass filter, making it quite useful for preamp pedals if and when I want a doubling setup.
  7. I had already pretty much retired from gigging two years before the pandemic hit, but I was still getting out of the house jamming at least once a week until March. At this point I haven't touched a bass in over a month, which usually means it's time to go into a guitar cycle for a year or two. So I reckon I'll take a stab at writing enough new material to eventually gig with, and I'll just hire someone else to play bass if and when that happens. I'd say May of 2022 might be a reasonable expectation where I am, FWIW.
  8. So how do you do the switch then? Here's what it would look like for me on a doubling gig, I just grab whichever bass I want to play and put the other one back in its stand, same as I would with any two basses.
  9. I'm a huge fan of "whatever works." When I started playing a real bass again it led me to a few setup changes with my BSX to make it a bit better as a trainer, but it will always be its own thing anyway. Before I bought it I was a longtime fan of a few EUB players and I never expected it to be a full substitute for an acoustic one. And the big band that was my last steady gig preferred fretless BG to either, go figure.
  10. Heh. I am firmly in the opposite camp. As someone who was almost always reading on my (great many) EUB gigs the faux bout on my BSX was an utter life saver when a page turn came due. My only strong prejudice is against EUBs on stands, homie can't dance to that.
  11. That might arguably called "shilling" in my world, or more importantly in the TB CUP. Especially if you haven't actually read the book. It's a very subjective thing though, and I don't mean to impugn either you or Alfie at all. For me the real problem comes more from web review sites like Yelp where a restaurant owner recruits negative reviews for the competition in return for a free appetizer, or possibly undeserved glowing ones for his own joint. On Amazon one can sometimes get a two for one deal in return for a positive review, for example.
  12. They've left at least one thread up, so best of luck to you with the book. In my case I had to become a Commercial User just to give away a free design I make no money from. But I did make my living in the music business service side for quite a few years, and there are some perks to being a CU as well.
  13. Nope, it doesn't work that way. A supporting membership lets individuals not in the music business sell personal gear. Commercial users register as such and post under a different code set out by the Commercial User Policy. I've been under those constraints for a few years now and it can be a substantial PITA. Pesonally, I'm pretty sure this thread violates the spirit of the TB CUP rules in at least one way or another, but I'm sure the mods over there will sort it out soon enough, and it's most definitely not my call in any way. 😎
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