wintoid

7 hours ago, Chadu25 said:

I’ve never had a Canadian one but what do you mean with the tone control being weird?

It's exactly as @krispn says.  For the life of me, I could never understand why they did that.  I hated the tones from the "scooped" section of the travel, and there wasn't enough control in the regular tone section.  Replaced it with a wonderful Stellartone Tonestyler, and never looked back, ably fitted for me by Feline Guitars for a tenner.

Just curiosity really, I'm more of a P than a PJ-er.

Does this model have the same weird tone control setup that the Canadian Super P has?  I had to replace the circuit on mine as I couldn't get on with it.

I saw Marillion at least twice during the 80s, perhaps more.  I still enjoy the Fish albums, although the lyrics and mentality are...  well let's just say it was fine when I was 13, but not now.

I stopped listening after Fish left, and am unlikely to delve into the later catalogue.  I do listen occasionally.

I had a Rail about 40 years ago.  It was my second bass, replacing an absolute boat anchor of an Ibanez and I played the hell out of it.

I remember I went to a studio to record a track with it and the engineers thought it must be active because the pickups were very hot.

8 hours ago, Phaedrus01 said:

they have come with some of the best setups I've ever played. 

Can't agree more.  Some black magic in their setups.

I haven't played with a guitarist for a loooong time, but my experience of guitarists is that most of them don't know how to (or don't think about how to) make space.  For that reason, the ones I've known have not been the greatest bassists, even if technically capable.

I just stumbled across this, and enjoyed it so much I thought I should share.

Thanks both....  I'm going to play it for a few days to see whether I really think it needs it (which basically means I'm still underconfident about it), but if I decide to do it, I'll get those washers

Easy as that?  Doesn't sound too difficult!  Thanks.

So, to source the right washer, is there a particular size I should look for (it's a Fender)?

I'm not very handy, but I have several basses which are vintage Fender replicas and require loosening the neck to get at the truss rod screw.  I've done this today for the first time in my life, and applied a quarter turn of tightening, which has helped.  I'm quite pleased with myself.

I would do another quarter turn, but when I tried, the truss rod wouldn't go any tighter and I didn't want to force it (this is all with no string tension on the neck).  On balance, I think the action has improved and I'm happy.  I could just live with this action, but I'm wondering whether being at the end of the truss rod's adjustment is (a) a bad idea for some reason or (b) a sign of future troubles stored up.

If I *did* decide I wanted another quarter turn, what's the best way for a DIY klutz like me to proceed?

RIP Herbie!

1 hour ago, BigRedX said:

What DAW are you using?

Bitwig

29 minutes ago, Greg Edwards69 said:

Are you listening to the clanky bass isolated or in the context of a full mix? You would be surprised how many iconic bass lines and tones are actually clankier than you realise. That high end content can help the instrument cut through.

 

Yeah it's true that in the mix it sounds much better, but sometimes I have sections where the other instruments are absent/quieter, and that's when I notice the clank.  I think you're right about cutting and not boosting, I'm definitely going to give that a go.  I play for my own pleasure, and am not a live performer at all, so I don't really have much experience with amps/cabs, although I do have a bass amp or two at home.

24 minutes ago, PaulThePlug said:

Is this what happens without an amp/cab sim?

Could be.  Maybe I should try one.  I am not currently using anything of the sort.

I'm getting deeper into recording my own music.  Nothing I'd want to share yet, but I've really really been enjoying it.  I was wondering if there are other Basschatters who dabble with recording and production who have some tips on controlling the sound of the bass.

I'm recording my bass, usually a Precision with Thomastik flats, through a DI box into a decent sound card.  What I'm finding is that with the tone wide-open, it's a bit clanky.  As I roll the tone back, it becomes a bit too muffled and my amateurish attempts to process this sound end up overly bassy, which sounds fine on my big speakers, but can sound farty on phones and laptops.

I'm back to thinking I should record with the tone wide open, including the clank, and then work out how to trim the clank in my DAW, with some sort of EQ to knock down the treble/upper mids.  I don't want to lose the personality of the bass.  I would say I'm looking for a tone somewhere between modern and vintage.  The closest tone I can think of is something like the bass on Summer Lovin' from Grease.

I'd be really interested to hear from anyone else with more experience in this stuff.  In particular, do you generally record with the tone open, and sort it out after, or are you trying to get the tone right as you play, and not fiddle with it in the DAW.

I don't know about a link, but it's a Dingwall Super P in Blueberry.

I got it from Bass Direct, and I reckon it was loaned for a review to this site:  

Lovely playing . Bass sounds great.  GLWTS.

This one's mine...

Chic - Everybody Dance for me I think.

Mmmm nice.  I had a headless Roscoe 4 which was lovely.  Always wanted one with a headstock.  Must not look!

Thanks for the update!  Any idea whether those containers might contain any of the bass DI and DI+?

Aha, mystery solved.  Wishing you a quick and agreeable sale!

Interesting, yours has the tug bar/finger rest thingy or whatever you call it.  Mine does not, albeit mine was newer, but I always found it interesting that it has the holes drilled for one, even if it's missing.

Wooten's sound is awful, even if I respect his ability.

That was great, thanks for sharing.  Perfect for a Friday.