bassman7755

I play extended chromatic runs playing alternate 3 notes then 6 notes (in two groups of 3 i.e. 1-2-3-slide-1-2-3) per string, so all 3 note groups using 1-2-3 fingering. I find this less awkward that doing 1-2-3-4-slide-4 (or 1-slide-1-2-3-4) on each string. Probably the only person in the world who does it that way 😉. My rationale for doing it this is way that the classic way means you are sliding immediately before/after changing string where as with my way the slide is mid run albeit 3 frets instead of 1 ..

The SR505 is a pretty decent instrument, solid build quality, good hardware, 3 band active EQ, split coil pickups etc etc you've probably already reached the point of diminishing returns in terms of overall bass tone, versatility and playability, not sure why your dead set on treating it as a disposable starter instrument.

You are fine, the aspersions bit was aimed at others

Discussing rule changes due to brexit is a discussion of adjective reality and fair game (like this post). However (IMO) discussing the wider merits of brexit and the casting aspersions on those who may or may or not have voted for is political incitement and crosses a line.

flip off with your political cow poop

I think you are overegging the difficulty. If you can sing/hum/whistle with reasonable intonation (which the vast majority of people can) then you can learn to intonate a non fretted stringed instrument as evidenced by the millions of school children over hundreds of years who manage to learn to play various stringed instruments with decent intonation without recourse to electronic tuners and visual aids.

Ah didn't realise you could use the phone do it but I bought some magnetic counter thingy off ebay for a few quid that will do the job.

Thanks for the offer, for now I'm going to 3d print some bobbin ends with the correct hole spacing and see how that goes (I've already bought a bunch of pole pieces)

Yeah I think I must have misunderstood the concept, it was probably just a plain old coil tap.

UFOs only you can rock me ... Possibly also the worst rhythm guitar sound ever as a bonus.

When you say true temperament do you mean Just tuning as per https://pages.mtu.edu/~suits/scales.html ?. I see that the Just b3 is slightly sharp and the 3rd slightly flat compared to even tempered. I can defiantly feel my tendency to slightly sharpen the b3 and flatten the 3rd, I guess the origins of blues is people feeling that same pull.

No problem with IEMs. Anyway general advice to the OP on getting good intonation - if you can whistle or hum in tune then you can play fretless with good intonation, you just have to train your fingers to subconsciously adjust to the correct pitch in the same way that your mouth or vocal chords do. One way is to be very slow and deliberate: play an open string then try to play an in-tune easy interval e.g. a 4th (5th "fret") or 5th (7th fret), if/when it sounds out of tune don't just randomly move your finger up and down but try to hear if its flat or sharp, make a small correction and see it gets better or worse, repeat until the note is in tune. Once you get the note in tune try deliberately flattening it and sharpening it so you get familiar with the sound. Add the other intervals over time, I suggest all the major notes then add minor 7th/6th/3rd then b5 and b2 last. Once you can play a full octave chromatic scale on one string over the open note your laughing. EDIT: just to add that I sometimes find it particularly difficult to accurately pitch a b3 because theres so much deliberate abuse of the distinction of b3 and 3 in a lot of rock and blues - it seems that pretty much any midway point sounds OK to me because I'm so used to hearing the deliberate abuse of the distinction in a lot of rock and blues. The short version is that we can generally all already hear when something is "out of tune" pretty easily, the trick is that you have to train yourself to discrimination sharp from flat. The exercise above is what worked for me. Eventually it becomes second nature and your fingers develop "ears" and just home in on the right spot. Would definitely advise against using visual aids and tuners (but people do and get by with it so ...).

No way, in my opinion, is this going to compete with two loud guitar amps (and I say this as someone who has one ...).

Its kind of online chat etiquette that you dont vandalise threads by editing your original posts so noone has any idea what the discussion was about.

Yes this is the accounting viewpoint - a used bass does not "cost" you anything its a capital asset purchase so your personal balance sheet remains unchanged no matter how many bases you buy 😁

The TC RH450 is also absent any fan noise.

I think were both right but just arguing over the semantics of "signal" which to me means voltage and current since to transmit the signal we need some current to flow. The case is that the cables effective parallel capacitance affects a higher current (for a given voltage) less than a lower one, not a dramatic effect except in extreme conditions admittedly like perhaps where you have very long and/or poor quality cable.

Well it can make in theory degrade the sound as you have less signal current flowing in the cable, probably not noticeable on a shortish good quality cable though but better to use the right input for the job just to be sure.

But nevertheless high end hifi gear can exceed 100 db snr at much lower signal levels than this.

A circuit with a particular gain structure will have less overdrive when running at a higher voltage given the same input signal. The question is - if you increase/decrease the gain inline with the rail voltage, does the circuit behave significantly differently. In the case of this pedal, does it sound any worse, or have a noticeably worse SNR at the lower voltage if you turn the gain down to compensate ?, I'm guessing not. "headroom" / "dynamics" are just SNR i.e. relative not absolute, if you have proportionately less noise at the lower voltage then there is no headroom reduction.

Get a zoom b1-4, the veritable swiss army knife of bass gear, does everything you want and loads more.

Havnt played those exact bases but budget yamaha stuff is always very solid. Possibly an option if you buy one from a reputable shop or classified like basschats sales, wouldnt recomment a complete newbie go for something random off ebay/craigslist/faebook though.

But you could presumably just passively voltage divided the input before the opamp input (which is what the volume control in the bass is doing essentially). Also why are all these 9v effects units and preamps not clipping all the time if this is such a problem ?. Also my B4-1 sounds exactly the same at 5v USB power as it does at 9v so presumably internally its running at just 5v. So why does hifi and studio equipment get by just fine with high SNRs when using line level signals everywhere, the highest level being +4db / 3.5v peak to peak ?. Still not convinced this is anything other than voodoo folklore to part bassists with more money.

I call cow poop on 18v, the vast majority of audio processing in the world is done at half a volt or less so not sure why bass preamps or effects would get some magic benefit from a massively higher voltage. I cant hear any fundamental difference between my 18v status and a 9v active (or even passive) instrument.

Yeah mind blowing value really, thinking of getting a second one to use as my gigging rig (b4-1 into my techamp puma to replace my rh450).