nilebodgers

You would think Icepower would do a 2 pronged attack of a PR campaign highlighting the quality of the genuine parts (and the likelyhood of the counterfeit parts leaving a smoking crater) alongside making the 125asx2 much more available at a reasonable cost. The counterfeit parts are only attractive because the genuine part is very expensive and also hard to get. There is obviously a demand for the product and they'd probably sell a lot more.

24 minutes ago, Lozz196 said:

They’ve made it sound just like the recording, which live is never all that easy. I only listened on my phone but the bass had a good presence in all the songs.

Yes, from about 7:20 in you can hear it really clearly and the tone is great.

I'd bet it's a clean DI feed off the mic splitter to the video/broadcast truck, the rest will be down to the record mixdown eq and processing. It's 2004, so early days of live digital which suggests to me that it's not too processed beyond eq and compression.

11 hours ago, SteveXFR said:

When learning covers do you try to copy the original exactly or do you sometimes simplify or change or add bits? 

I copy it exactly but with the proviso that I may leave some of the fills out if they don't key into other things going on on the music or are not very audible. e.g. if a song has 5 verses with very slightly different fills in each one I'll probably pick the one I like best and repeat that to make a common verse to remember. (or if they are all really good fills I may remember them all, but not play them in the original order)

The songs that give me the most trouble are ones that are basically one long improvisation e.g. the James Jamerson motown lines. There's nothing there that is that difficult to play (relatively), but there is so much variation that I just can't remember it all.

Oh my word, that is a marvelous thing

When I started playing in the late 70s only rotosound rs66s were available anywhere I could get to (North east back end of nowhere).

Just looking at it I would absolutely want a baffle to back panel brace in that design.

8 hours ago, Reggaebass said:

It doesn’t seem real when you look at it now, but that was a lot of money then 🙂

£1931 for a P, £2325 for a J. (Via the Bank of England inflation calculator)

Considering that these are almost identical spec to the current Player models, you get a lot more for your money now.

Is that a double stoppy bit at around 4:21? The rest sounds familiar.

4 minutes ago, owen said:

Everybody loves a Crest CA9. But that Lab Grupen with bring the heft for shure. If it is good enough for Martin FOH then it is good enough for backline

True - a fP6400 will blow any bass guitar cabinet into oblivion.

I never post on YouTube. The comment sections are a toxic hell-hole on there.

I might buy myself a Fender USA Jazz for my 60th next year. I don’t like all these coffee table bespoke things, just a really nice quality working bass.

That cup was a great bit of lateral thinking!

5 minutes ago, wateroftyne said:

I'm not sure I buy their 'not running at a profit' official line. I'm confident there's some creative accounting going on, even if it's not in the billions.

Once they have done an IPO and the founders plus initial investors have cleaned up no-one cares about the company. Being profitable is never the goal as long as it doesn't prevent the shares being unloaded onto mugs.

1 hour ago, Dan Dare said:

A lot of punk bass parts wouldn't be what you'd call "interesting" in isolation. That's not really the point of them. They're all about keeping it solid and driving the band. The bass playing here is a great example of that - Sex Pistols live @ Phoenix Festival 1996 (complete MTV broadcast 1of2) - YouTube. Might not win any compositional awards, but boy does it do the job.

Wow - that was terrific. I'd not seen that before. 👍

11 minutes ago, Crusoe said:

Whilst not strictly punk, they do tend to get lumped into the genre, so, anything by Ian Dury and the Blockheads, especially Hit Me With Your Rhythm Stick.

+1. There is a load of great music that sidled through the door that punk opened.

6 minutes ago, stevie said:

Dunno about that @nilebodgers, It looks like a CD horn to me. B&C say this: " Hyperbolic cosine geometry combines best of exponential and CD characteristics." The reason we can get away without CD correction is that the crossover frequency is relatively high (3.5kHz) and I'm not bothered about getting a flat response above 6kHz.

Still, the main thing is that we have a simple circuit that works really well and can be assembled in minutes.

It's not completely obvious from the freq response though, I've seen horn responses where it is much more pronounced so they must be favouring the exponential response a bit more.

The CD HF response can be corrected by making the high pass look a bit like a 3rd order topology, but deliberately using the rising impedence of the driver to create a HF peak (the capacitor value nearest the driver is tweaked if I remember correctly). I found this trick in some commercial speaker designs and used it myself although it needs a lot of care to avoid the impedence dropping too low. (I used to use LspCAD and LAUD when I did some semi-commercial speaker design in the early 2000's)

3 minutes ago, stevie said:

Here's a diagram of the crossover. It doesn't get any simpler than this. I've assembled the circuit using a (chocolate block) terminal strip. So - no soldering needed. I'll post a frequency response of the finished system and of the assembled crossover later today.

The Pulse 10 is wired directly to the input and this circuit connects to the HF unit.

 

Nice and simple. It’s handy it’s not a CD horn so doesn’t need correction.

18 minutes ago, SteveXFR said:

Journey To The End Of East Bay is my favourite Matt Freeman bass line. I've not managed to play it quite at full speed. If I slow it down to 95% it's fine but that last few bpm is just too fast. 

I only discovered rancid recently believe it or not. Most of the USA stuff passed me by.

 I’m going to have a look at playing roots radicals at some point, that has a nice bassline.

Rezillos, Top of the pops. Just transcribed it and am really enjoying playing along.

2 hours ago, bigthumb said:

Listening on my computers speakers I could hardly tell any difference. Maybe the Jazz a little quieter? But both sounding great. 

They sound very similar on headphones too, I couldn’t reliably tell them apart.

16 minutes ago, Woodinblack said:

I never really found the sounds convincing but it isn't what I use it for so I never found it an issue

It's good enough for me to check I have the rhythms and note duration correct, so that is all I really need.

Ok, I downloaded the evaluation version and I'm quite impressed. I managed to fumble my way through entering an entire song transcription and got it looking decent. I'll be able to use that I think.

I haven't managed to find a decent bass sound for notation playback though, they are all very "midi" sounding.

On the upgraded topic, just take the upgrade bits out and return it to stock if you sell the bass. The removed bits could then be moved on to another bass or sold separately which will get a lot more money back than leaving them in.

This is very interesting - where the emg gzr pickups came from and the Ashdown geezer butler amp:

https://open.spotify.com/episode/1P08vbbnH3UNZqOCutdHuA?si=VYpIK7uaQsmql2UmPc28vg

11 minutes ago, stevie said:

For comparison, here's an Eminence Basslite.

 

That's pretty offensively large, would need some kind of parallel RLC trap in series with the driver to tame that.