TrevorR

[quote name='0175westwood29' timestamp='1489415066' post='3256697'] not introducing an effects loop just a simple way of getting a di signal from the power amp of the jcm so no vtdi needed in the chain. [/quote] Aaaah...

But apparently they have half an album all but done... and due to do some more soon... yay!

100% agreed on Alan Spenner. Only excluded because he never really played the Custom Series which the others listed above all used (tho some also had JGs and Pros too). Many things go in phases and desirability waxes and wanes. Certainly Wals had a glory days period in the 80s, were a bit less prominent in the 90s and gained more widespread notoriety and appeal in the 2000s again.

[size=3][font="Calibri"][color="#000000"]It’s funny the way in which you hear Wals being referenced in terms of the big 3… Mick, Geddy and Justin as if that is the gamut of the Wal sound.[/color][/font][/size] [size=3][font="Calibri"][color="#000000"] [/color][/font][/size] [size=3][font="Calibri"][color="#000000"]For me whilst I enjoy Geddy’s late 80s/early 90s sound and the bits of Mick’s fretless I have heard (Japan were never a huge part of my listening list and I can’t honestly hum any tune by Tool) they represent for me only the tiniest corner of what a Wal is capable of. And it’s their ability to sculpt a host of different tonalities which has always been a huge draw for me (fingers arguments notwithstanding).[/color][/font][/size] [size=3][font="Calibri"][color="#000000"] [/color][/font][/size] [size=3][font="Calibri"][color="#000000"]Think of other notable Wal users and their tones… Flea on BSSM, Bruce Thomas on Elvis Costello’s “Punch the Clock”, Laurence Cottle with his Big Band, with The Alan Parsons Project or with Black Sabbath, Macca on Flowers in the Dirt or the Light Fantastic Live Album, Martin Kemp with Spandau Ballet, John Illsley with Dire Straits, Percy Jones with Brand X, Jeff Ament with Pearl Jam, Greg Lake on the ELP Black Moon album… all broadly different examples of tones that a Wal is capable of producing.[/color][/font][/size] [size=3][font="Calibri"][color="#000000"] [/color][/font][/size] [size=3][font="Calibri"][color="#000000"]Back on topic, though, it was interesting to see what happened with the second hand price of Wal basses in the two or three year hiatus between Pete Stevens finally retiring and Paul Herman restarting production. If I recall the highest I saw a pretty standard Wal model go for was around $9500 dollars (around £7500 at the time – a decade ago now). It will be interesting to see how other luthier brands go when their makers stop making. However, as others have said, I suspect it will also be driven by distinctives around design. Zemaitis basses were already goig to silly prices before Tony Zemaitis. Real Zemaitis guitars and basses are now eye-wateringly expensive. And if any instrument had a distinctive USP they were one.[/color][/font][/size] [size=3][font="Calibri"][color="#000000"] [/color][/font][/size] [size=3][font="Calibri"][color="#000000"]At least the future of Wal seems secure for the foreseeable.[/color][/font][/size]

[color=#222222]Adding in the Radial DI box to introduce an effects look into the signal path looks like a pretty over-engineered solution given that a slight re-ordering of your existing pedals and leads seems to solve the problem.[/color] [color=#000000]Go [b]from[/b]…[/color] [color=#000000]Bass-> Korg Pitchblack-> Sansamp VTDI-> MXR Phase 90 -> Corona Mini[/color] [color=#000000][b]To[/b]…[/color] [color=#000000]Bass-> Korg Pitchblack-> MXR Phase 90 -> Corona Mini -> Sansamp VTDI.[/color] [color=#000000]Then use the VTDI XLR output to take the signal to the PA. Then use either 1) the parallel out to the amp if you DON’T want the EQ and drive settings on the VTDI to go through the amp or 2) the main jack output of the VTDI if you do. [/color] [color=#000000]If there is an issue that you prefer to have an overdriven sound going into the modulation effects rather than modulation effects going into the overdrive then your set up would be…[/color] [color=#000000]Bass-> Korg Pitchblack-> [i][NEW OVERDRIVE PEDAL TO GENERATE OD TONE][/i]-> MXR Phase 90 -> Corona Mini -> Sansamp VTDI ([i]set up with a low gain to act as an amp/speaker sim rather than an overdrive[/i]).[/color] [color=#000000]Anything more than that seems like over complicating things for no particular reason or benefit.[/color]

Had one years ago on a Squier Jazz project bass and loved it. Finally put them on my two Wals (EB4s). Loving it. Simple but effective engineering. [quote name='mildmanofrock' timestamp='1181895067' post='18015'] It goes from bad to worse. The damn thing kept going out of tune, no matter how much fine-tuning I did. Last night, I took it off and put it back on, in the hope that something would slot down right. That done, I flicked the lever, and it only detuned a little bit. I've taken the thing off and put my old Musicman peg back on. I'm considering my next move. I feel a Hipshot sale coming on. [/quote] I think I might know the problem. Check that the tuning screw is properly seating against the knurled nut in the lever pivot. If it is slightly misaligned it might be catching on the washer and not detuning properly and consistently. If so, the tiniest bend of the bent bit of metal that holds the tuning screw with some pliers will fix it. Had that happen with one of mine. When I realised it was a 20 second fix. Now working perfectly.

If I understand correctly bass into tuner into VT DI. Output to PA from XLR output. Amp connected to the parallel output. Phaser and chorus connected to the VTDI main jack output? Is that right? It seems to be what you're implying. If so, then the effects aren't in the signal chain at all and are doing nothing. Surely I've got that wrong? The obvious signal chain would be... bass > tuner > phaser > chorus > VTDI. XLR out from VTDI to PA, choice of main jack out or parallel out to amp depending on whether you want the EQ and speaker sim from the VTDI going into your amp. I keep rereading your post and thinking I can't be right but I can't make the signal chain description mean anything else... #perplexed

Crumbs, was just looking at a flyer for a local festival where they were due to play in a couple of months. Great singers, sad loss.

[quote name='bertbass' timestamp='1489327930' post='3256040'] Forget the iPad, what about that mess of leads round your feet! Definitely a trip hazard. Where's the H&S inspector. [/quote]

''Tis indeed

[quote name='Happy Jack' timestamp='1488367780' post='3248257'] How anyone can remember what bloody lead they used is quite beyond me! [/quote] Jack, look what I just found in my bass guitar case... Although I will concede that this might not be my actual first ever gigging set up lead but a spare bought about 4 years later! #imsosad

[quote name='skankdelvar' timestamp='1489165997' post='3254928'] Thanks for the heads up, Sir. I went and checked it out: Mr Tribe's version is a little gem and beats the bollocks off the UB40 version. [media]http://youtu.be/PNgzk0TvJJI[/media] [/quote] Not heard that before. WHY HAS NOONE SHOWN ME THIS BEFORE. OH, THE WASTED YEARS! What a great version.

Is this it? Some nice close up photos... http://www.acguitars.co.uk/acg_admin/wordpress/portfolio/0201-krell-4/ "Makore"... not a wood I've come across before.

It's a pretty top wood. What is it? Ovangkol? Figured bubinga? Shedua? I love the subtle checkerboard flaming on it. Quite a Wal-ly aesthetic wood choice (which OF COURSE I like).

Definitely a "less is more" situation. Root notes and little walking runs if you are feeling flash. And no one will notice/care what type of strings you've got on. Play what you think will feel/sound good for you. And, yes, the singers will probably jump at the idea of having a "backing band" but not think about little things like having chord sheets for the backing musos...

The aesthetics of ACGs have never grabbed me, which is a shame given the rep they're building. However, this model is definitely the one that most floats my visual boat. Nice bass... But I must confess that every time I hear the word Krell this guy pops into my mind...

In the wedding band days, though I'd happily do the gig on just my Mk 1 Custom I'd almost always bring both my Wals partly as insurance but partly to use each for different songs/sections of the set. That meant I'd take my Lehle3@1 pedal for quick, easy silent switching into my TU2 or Polytune into an amp. For many years that was a 200W Trace Elliott 1215 combo. When it died I had an Ashdown Mag300 and 4x10 I just never got on with and which I sold and got a MarkBass LM II and Traveler 2x10 and 1x15 cabs. I love that amp set up! If I went back to that I'd probably take my modest pedal board just coz that's where my tuner and Tech 21 VTDI are.

Love my Faith Neptune Titan. Nice feel and acoustic tone. Great Shadow pickup and preamp. Very simple, one vol, one tone but a shaped EQ rather than just a treble roll off. Seems to go from a scooped tone to a mid boost but at sensible levels across the piece. Then again it sounds great pretty flat.

[quote name='BigRedX' timestamp='1488817441' post='3252025'] Has anything happened with this? Has the gig recording been made available to buy and download? Did the MU ever get back to you? [/quote] Was wondering that myself...

[quote name='Huge Hands' timestamp='1488964199' post='3253233'] However, what I really can't do is talk and play. If one of my band colleague asks me something mid song, I end up sounding like a grunting, gurning cave monkey that's had a stroke when I try and reply. [/quote] This, this, so very very this!

Like others, it's the clash of melody and bass line rhythms that does my head in. There are some songs or some lines I just can't sing and play at the same time without the bass line going completely to pot. Back in the covers band days I did a lot of backing vocals and really loved it. Like has been said, it's amazing how much a good backing vocal could add to a song. Some faves were Kinks tunes, because the backing vocals often so daft if you listen to them in isolation but they're an important subliminal part of the song. Listen to Waterloo Sunset to see what I mean. Ray really must have hated his little brother, Dave. Then there was Going Underground which I seemed to unconsciously approach as a piece of punk performance theatre. Out went my nicely manicured Surrey pronunciation and suddenly it was all... "Bu' Oi wan nuffin that serciety wan's! Gaw-win unnerground". On occasion it used to send our female vocalist, who'd known me for years into the giggles so she'd have to step off mic til she got her own backing Vox back under control.

Don't know anything first hand but I've seen a few people from the States on FB groups digging them. From what I can piece together it seems to be a deal where a US company/shop specs up some models, deals direct with a Far East factory to get them built and imports them direct to sell. If so they'll cut out some middle men and can charge a lower price because of the saving made. That MAY be way off beam but the logic held together for me. How good they are and how critical any corner cutting or QA lapses are I couldn't say. They do look pretty though and it's a daft price for a thru neck.

[quote name='Luulox' timestamp='1488886260' post='3252597'] My eyes!! What is wrong with you man, Why must you do this to me! I can't unsee this monstrosity. It may well have ruined music for me for ever. 😂 [/quote] It could be worse, before I got the iPad I did use a... well, you know what!

OnSong lets you add post it notes with notes, comments etc. Here's a couple of examples I used while getting on top of new songs... Is that the sort of thing you had in mind?

I use a Manos Mike stand iPad holder when being a disgrace to all bassists everywhere on stage. Nice and robustly made and easily adjustable. Just attach it to my mic stand. Very pleased with it. https://www.thomann.de/gb/airturn_manos_mount.htm Here's a photo of it ruining the listening experience of the punters... how can I possibly show my face in public... oh the shame...