Hellzero

Time to sell some for me then. I've always thrown my tickets and programs and I've attended thousands of concerts... But I still have some T-Shirts that I don't wear anymore. Will maybe give it a try instead of giving or throwing them. Anyway thanks for the tip. 👍

Looks like a 1.8 to 2.9 mm at the 12th fret. It's a bit high compared to an average standard action, but an instrument must be set up for the player, not for a mate or someone else. So, if you like it that way, that's fine. That said, measures are now taken in milliliters and at the 12th fret for comparison purposes. Tell your mate that he should have tried James Jamerson Funk Machine, where he would have considered your action as very low. 😉

I was lucky enough to attend a complete concert of a one guy bagpipe band with a swords dancer in a restaurant in Oban (Scotland, for those who don't know...) some 30 years ago. I didn't understand why there was this table free in front of the stage. We took it and ordered some haggis. After the second piece of ... "music", I understood why this table was free and why we had no knives... 😁 First time in my life, I really wanted to kill someone and cook him in his bagpipe and feed the swords dancer with this meal. 😠

A friend of mine is one of the last independent record seller of Belgium (not linked to a franchise). He told me the saddest thing ever. When Mark Hollis passed away, he didn't sell a single record of Talk Talk and certainly none of his only solo album, when he always sells some records of dead artists. He, himself being a musical encyclopedia until the advent of real crap music (the new media heroes for one day), loves Mark Hollis solo album, which is not the easiest to listen to. Talk Talk was making pioneering real avant-garde music. I massively love all the albums and THAT bass sound, wow, heavy !

Nope, Rickenbacker Incorporated Corporate Corporation !

Nope, that was me.

Indeed it's in the fingers after they've gone into the nose... 😁

Very interesting, Chris Squire is sounding like Chris Squire on a Precision with that typical mid growl that is not his Ric edgier and rounder sound at the same time. So what I wrote : a Ric sounds like a Ric. It's not pejorative, it's a simple fact and even Chris Squire can't get that Ric sound with another bass. That said it was some fresh air to listen to this, thanks @wateroftyne And thanks again @4000 because the video about how to get that Chris Squire Ric sound made me want to buy one again, just for the fun of this Ric sound that is unique and also because I'm a massive Lemmy fan... That said my favourite Yes album is Drama. Yep, you can throw the rocks, I assume it totally.

Very interesting indeed, but a Ric sounds like a Ric, if you see what I mean. Thanks @4000

Looks like the way to correctly pack the SVT that I wrote above... 🤔

Everybody would...

Finland is not part of the UK ... yet. 😁

So you are going to buy me another bass these days ? 😁

@ped managed to get us discount with EuroSender and their insurance can really cover up to 2000 Euros (they are based in Europe, Luxembourg for the administration part), just for the info and just in case. But do as you feel it. Karma is a good, but strange thing.

Ok, this fear of shipping is totally legitimate, but if you do it right, I don't see the point. Seems to most people that the stuff you buy in stores appear the Star Trek way there... First of all, you'll have to remove all the tubes and put them in plastic bubbles wrapping before putting them in a box that you'll put back in the amp itself as there's enough room. Then buy some 2 to 3 centimeters thick polystyrene panels and cut them to make a made to measure polystyrene box that will exactly fit your (amp) head, you can wrap it with adhesive tape to be sure it won't disassemble, but that's a bit tricky to do. After that you can cut to measure some thick cardboard to make a real fit for it box. You can put this box in another box with some polystyrene panels again (if you're a bit paranoid) and then ship it using, for instance EuroSender (10% discount for BC members) WITH THE MANDATORY INSURANCE for such things. Done it hundreds, if not thousands, of time with only two issues in more than 30 years : one (organised by the recipient himself) theft and one serious damage to an instrument totally covered by the insurance as, even with the best package in the world, something dropped from the height of plane will not survive the ground impact...

If you prefer the educated French version of flop total it's fiasco complet. Translators are great fun : if you don't know the language you're translating to, you might end up insulting someone. Strange digital tool, indeed.

Thanks again.

My mémoire about the subject, published in May 2001, is still there, if you understand French. Second time this Audiovox #736 is coming back to BC. By the way check out Igor Saavedra work with his ERB 8 strings. Here it is : https://drive.google.com/drive/folders/14bent_Two9apqU44qPxGepgRFpsl0DaI?usp=sharing

I firstly listened back to the original to be sure that I heard what was "wrong". Just a few things in fact, and I only used the Mastering Rig in WaveLab with two modules (Equailzer and Saturator) as I only needed a few "things". I started by attenuating a bit the frequencies at 6 kHz as they were really hurting my ears (that's the weakness of almost all modern recordings, just like as if people couldn't hear these frequencies anymore) with a very narrow Q (to be natural), then I slightly boosted the 120 Hz region (again with a very narrow Q) because it's the frequency of the low end and rolled off all the lows below 70 Hz and all the highs above 14 kHz in a nice bell form (to get in line with the bandwidth of those days). After that I used a tape saturation simulation by large regions +3dB's in the lows, + 2dB's in the low mids, +1 dB in the high mids, and letting the highs flat, so emulating the way a tape can act in the real life when the view meters are going in the red, not necessarily back in the days. This saturation being part of the sound itself. As I told earlier, it's all about ears and knowing what is "wrong". They made a terrific recording and mastering work, but forgot how tapes were sounding and the poor quality of the reproducing material of the (late) 60's. In fact, they simply made a too modern mix. Then I mastered it to avoid any peak and that's all. I made it very quickly yesterday evening and listened back to it today (ear fatigue is a b*tch) and asked my wife to listen to it and she said : "Send it to these guys !", so I sent it here instead. 😉 In fact, it started as a challenge as I showed to my wife the work done by these musicians and this sound engineer telling her what was "wrong" and she simply said : "Make it better, then". So I had to...

I reworked their "Ain't No Mountain High Enough" stereo and mono versions, just for fun, using WaveLab, trying to get closer to that Motown sound using their final mix (certainly not the best way, but that's all I had). Just let me know what you think : Ain't No Mountain High Enough Mono treated.wav Ain't No Mountain High Enough Stereo treated.wav Listen to it with whatever you want, just for fun too. 😉

To me, what makes the Motown sound is, of course, The Funk Brothers, but especially the great coherence in the mix that's makes everything out of the "factory" listenable on whatever source available at the time, which means poor radio broadcasting, poor low-fi record players, even poorer quality jukeboxes and ultra low bandwidth and quality radios, without forgetting the slightly becoming available car radios with even poorer sound quality. That was the Motown tour de force : the coherent and clever mixes making their records listenable and enjoyable on whatever you used to listen to them.

Make another thread, there is no other way, but it's a bit painful, when there could be a "bump" button. Next upgrade maybe ?