funkle

[quote name='skychaserhigh' timestamp='1383405089' post='2264142'] Is waveguide just a fancy name for a horn or is it something different ? [/quote] I think it is a fancy name for the horn. But this horn does sound good, perhaps it merits the fancy name.

Just got mine. Number 9. The grill looks much improved over G1 efforts (the last time I tried a Barefaced), finish and fit look good, and it sounds really good in the mid and top end. Tried my Streamliner 900, then Zoom B3 into the STL900 effects return to bypass the STL preamp. I'm still breaking in the woofer so currently it needs more bass than I usually EQ in. A little tighter in the low end than the Berg IP112ER I have, at least at the moment. Full range music sounds accurate through it. Effects sound good through it. The octaver is usually a good test. Overall, my first impressions are that it sounds as good as the Berg. However I need to turn it up this weekend and see how it goes at high volume. Then band rehearsal next week. 29 lbs is it's reputed weight - feels about right, but I'll weigh it on the bathroom scales this weekend too. The cosmetics are good, and I am fussy about that. I would change the silver screws holding in the waveguide and woofer to black, but that's my only comment. The handle looks classy. Looks like a winner to me. Pete

Not trying to muddy the waters, but the Zoom B3 can allow recording with direct monitoring and you can also use the effects/amp sims/etc and of course take it out on a gig. Just saying! I use the B3 to allow direct monitoring while I play along with YouTube, Transcribe, etc. I've also recorded into Audacity with it. Of course, you could only record bass (or at a stretch guitar) with it. For the record, I also have a proper set-up with an M-Audio 2496 and a mixer.

I've done it with the Berg IP112ER and in the l Fx return in on my GB STL 900. No problems. I think Talkbass users say no problems with it either. Sounds great thru the Berg. So does my B3!

I have literally just figured out how to use the HPF built into the Ac Bs Pre, which is a clone of the Fishman Pro. See http://www.talkbass.com/forum/f36/zoom-ms60-b3-para-eq-help-999053/#post15028110 I hope that is helpful. I can't answer your other questions. Pete

I've just bought Dave Liebman's DVD - The Improviser's Guide To Transcription' - http://www.jazzbooks.com/mm5/merchant.mvc?Screen=PROD&Store_Code=JAJAZZ&Product_Code=D148#.UmbAFBBbSIA - to see what it may offer in terms of concept. I'll report back after it arrives and I get time to review it.

[quote name='ratman' timestamp='1382394213' post='2251763'] I just recieved mine today. I spent a couple of hours playing it so far and I've had no noise/whining issues. I'd get yours replaced ASAP. [/quote] Trying to. The seller (from Amazon Marketplace) is being a tool.

I've definitely noticed it, but only when using the amp sims, and even then you have to have the gain turned up high and the cab mix high too. Once I was able to reduce the gain, it got better, even when I mixed cab simulation back into the amp sim. This may be a fault in my unit...I may replace it with another one for comparison.

Can hardly wait for mine now!

[quote name='fretmeister' timestamp='1381437267' post='2239227'] What's the expected waiting time? I quite fancy one of them. [/quote] [quote name='DiscoTetak' timestamp='1381438138' post='2239241'] I ordered my Big Twin 2 three months ago and I'm still waiting . [/quote] Yep, that's about right...I ordered in July. Delivery soon I think though.

Big Baby 2 on order. If all goes well, could basically be a one cab solution for just about any situation for me. We'll see how it pans out.

[quote name='Dr M' timestamp='1381148271' post='2234911'] Because he's been making world-class instruments for over 30 years, and is therefore likely to know all the sales tricks? He's hardly likely to say "I think this instrument should have an ebony 'board 'cause it would look nice and I just got a really good deal on a stack of blanks." [/quote] Skepticism is healthy, I think - though it can cross over to cynicism? I would simply say that I have heard from other luthiers whom I respect and who know a great deal more than I do that neck woods do make a difference. They generally go on to say everything makes a difference, though of course relative contributions of the various bits vary. I am now at a stage where I think most of the tone of an instrument resides in the neck as opposed to the body. A slightly unusual point of view, perhaps. Took me a while to come to this conclusion, and it's based partly on observations of others and partly on my own (e.g. By swapping necks about, trying necks with graphite rods, trying fully graphite necks on basses I own, necks with steel rods, necks of different dimensions, necks with different boards, etc, plus a lot of modding of pickups and preamps and bridges and tuners and whatnot). I'm not aware of any well run double blind studies in this area. They would probably help.

My Celinder alder Jazz has a Braz Rosewood board. Feels lush and I think a bit snappier than the rosewood on my Squier CV Jazz and Precision (?Indian on both?? Hard to tell). All the rosewoods though sound nothing like a maple board to me. Maple has a 'dry', 'tight' sound to me that I find difficult to define in other words.

I defer to the expertise of Mr. Sadowsky in this area. http://www.sadowsky.com/pop/roger_talks.html Text below: 'This is my opinion, based on building over 6000 NYC basses and guitars during the last 30 years. Fingerboard woods from brightest to warmest: MAPLE: Tightest and brightest. Best for slap. Can produce more string and fret noise than others. Requires a finish to keep from turning dirty and grey. EBONY: Not as bright as maple. Most immediate attack and punch of all our fingerboard woods. Note is more fundamental with less overtones. Best for fretless. Pure black ebony from Madagascar is limited. African ebony has some grey mottling but is still very beautiful. These photos are representative of our current stock of ebony: http://www.sadowsky.com/stock/stock_images/nyc/lg/6030_full_lg.jpg http://www.sadowsky.com/stock/stock_images/nyc/lg/5973_full_lg.jpg http://www.sadowsky.com/stock/stock_images/nyc/lg/5327_full_lg.jpg http://www.sadowsky.com/stock/stock_images/nyc/lg/5968_full_lg.jpg Bob Taylor Video: http://www.youtube.com/watch?v=anCGvfsBoFY MORADO (also known as Caviuna, Bolivian Rosewood or Pau Ferro): Morado is not a true rosewood, but I have been a fan of this wood for fingerboards for 30 years. Also used a lot by Stu Spector. Grain is very tight and smooth. More warmth than maple or ebony, but tighter than East Indian Rosewood. Excellent wear resistance, even on a fretless. For fretless, produces a somewhat more acoustic/upright tone than ebony. MADAGASCAR ROSEWOOD: A less expensive alternative to Brazilian Rosewood. Many boards have the spider-web like grain of Brazilian. Rich reddish brown colors. Can be more open grained that some others. Tone is in the same ballpark as Morado and Brazilian. New supplies are limited. AMAZON ROSEWOOD (Dalbergia Spruciana): A new alternative to Brazilian Rosewood. A true cousin to Dalbergia Nigra, Amazon Rosewood is more similar to Brazilian than any other wood. BRAZILIAN ROSEWOOD (Dalbergia Nigra): For me, the King of tonewoods for fingerboards and acoustic guitar sides and backs. Beautiful browns and blacks. Wood has very high oil content. Banned from export out of Brazil in log form since 1969. Currently protected by the CITES treaty which prevents shipment between countries without intensive permits. Same treaty that protects tortoise shell and ivory. We can only ship instruments with Brazilian Rosewood to a US address. No longer recommended to musicians who travel internationally.'

[quote name='Bilbo' timestamp='1380447036' post='2225242'] That Liebman article is gold dust. [/quote] So true. Whenever you ask someone what they do when they transcribe, you get a huge variety of answers, and there's Dave Liebman laying down some serious gospel.