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  1. Thanks @Jus Lukin. Yes - aware of the sim in the B3, it was whether there was a big 'analogue dividend' or not, and the simplicity of controlling that interested me. Consensus seems to be probably a small improvement in quality but only if the B3 is entirely removed from the set up (and thanks for clarifying @jrixn1 - I had assumed in bypass mode the signal wouldn't convert).
  2. Wow, they are stunning! Although I wish the emerald green was available on the 4 (not so much a fan of the sea foam or pink)
  3. Okay, so since my last post I've been playing my present 30" bass a lot (a Squier Jag) and remembered why I went for short scale in the first place. So, no need for something in the sub-£500 category, but do Ibanez offer anything 30" at the pricier end of the spectrum?
  4. Hi all. I'm fairly new to the world of bass pedals so would appreciate some wisdom! As I tend to play straight into a PA mix without an amp I'm tempted by some kind of enhanced DI box like this: I like the simplicity of the EQ controls and the idea of having a high quality DI output. My present set up is to take a DI signal straight from my B3. So, would I be gaining anything in terms of signal quality or tone of I was to output from the B3 to an enhanced DI? Or do they essentially do the same job? Thanks
  5. Indeed! I would not have been amused
  6. Funny video! This is the most complex bass I've ever played in church - I had to practice for literal days to get that under my fingers
  7. For a number of songs yes, but it all depends on the top and (to a lesser extent in my view) the bottom notes. As while many songs the tonic will be the highest note in the melody (e.g. in Christ Alone), a great many others go to the third (e.g. Happy Day (Hughes)) or the fifth (e.g.great are you Lord - your breath), suggesting D, Bb and G as the respective optimal keys to avoid going beyond the top D (that said In Christ Alone is fine in the original key of Eb as the top note is a passing one, in contrast to happy day where you spend a lot of time at the top end in the chorus).
  8. Blur - Parklive R.E.M. - At the BBC Transatlantic - Live in America
  9. In lots of cases, no. In a previous era I was responsible in a church for selecting songs, issuing the music and choosing the key. There are lots of factors that can make this difficult, including: * Recording male worship artists usually have a much wider range than the average congregant, so write in keys that take the melody far too high for a Sunday. Contrary to popular belief this is even more of an issue for female congregants - 'high key good for female/low key good for male' is just not true. * There is quite a small range of notes (approx Bb through an octave to D) that are comfortably in the range of both male and female voices. * Quite a few popular songs go beyond this range of an octave and a third * The advent in the past decade of the 'octave leap' is a disaster for congregational singing as if the worship leader goes for it they will either be far too low to start with or not make the leap. The congregation have even less of change. Perhaps the greatest crime of Bethel music and Hillsong! So, all in all I have sympathy with the need to change keys. What would be great is if it happened with good notice rather than on the morning, although the transpose features of SongSelect etc make even that more tolerable. But I think the best strategy is to get on the front foot and advise the leader of the best key as soon as you can after they've sent round the songs - maximises practice time and they'll probably be grateful for your help!
  10. Yep, totally! But wouldn't invest unless much wiser counsel than myself were convinced its price matched the quality and not just the hype
  11. I've never had a 'walk out in disgust' moment but a few incidents of this kind: 1- I feel asleep at an Eric Clapton gig in the early 90s. I was only a young kids at the time but really enjoyed his Cream and Dominoes stuff that my dad played me. Sadly he only played his acoustic solo stuff, which I promptly voted against with unconscioussness. Dad was raging (at Clapton) for a year afterwards! Thankfully this was atoned for by the Cream reunion gigs a decade later, where Clapton was the star of the show. 2. Also Dad-related incident, he stormed out of Buddy Guy gig the whole family went to, I think in 2000. After a cracking opening couple of songs he descended into a sea of self-indulgent nonsense and patter with the audience. I was still too young to recognise this and stuck it out, but in retrospect it was the correct response! 3. I should have left Morrissey's set at Glasto 2004 - he was as grumpy as anything but it was the first time I'd seen him so didn't want to miss any gems. This was made up for very quickly as I got to be at the front for his Reading show that summer which was electric. 4. I left in the middle of Hell is for Heroes at Shepherd's Bush. They weren't in any way bad but l had come with a bunch of other fans to see the support band (Kinesis), so was exhausted after giving it everything in their set. Also met James from the Manics at the gig that night so I was a little star struck to focus on HIFH after that.
  12. Hi all. Has anyone successfully set up a 4-string short scale bass with BEAD tuning? Given the lower end is usually the challenge for producing a great sound on an SS I'm reluctant to try this without advice, but there are a number of songs I play requiring the low notes and I'd rather stick to an SS and not go through an octaver. If so, which brand and tension of strings? Did you have to make any other technical adjustments? Nb- I play a standard Squire Jaguar SS. Thanks!
  13. Thanks for highlighting this model, is it a 4 or 5? I'm after a 4, as a thin neck is a priority and I want to keep things simple until I've progressed in my playing.
  14. I'm glad they didn't - I don't think the song would have been as iconic with either part missing!
  15. Ah great, I live super close to Shirley Baptist and my kids really enjoyed your virtual holiday club this week!
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