EBS_freak

[quote name='Lw.' timestamp='1453201782' post='2957279'] I've seen quite a few of those K5's (but the natural colour ones) being used out in the wild so they must be ok basses. [/quote] I think so - Ibanez don't really do bad basses at any price point. From what I've read, they don't sound like Fieldy unless you roll all the mids out... which I wouldn't do anyway. Trouble is, even if I did like it, or even find one to try, there's still the issue of that inlay. It's a complete deal breaker.

[quote name='BassTractor' timestamp='1453157600' post='2957046'] Yeah, that would be my guess for now. These guys who are better at it have surely spent the time getting to know all the "landscapes", as well as (important!) the different peculiarities and artefacts. When I hear people discuss how a sound is made, they'll often narrow it down using the sound's artefacts. That demands experience, I'd think. In general and roughly speaking, I think it's safe to say that the older the original sound, the easier it will be to replicate. New sounds would generally require the same type of hardware or software, if not the exact same. BTW, tools like Fourier analysis, spectrum analysers and oscilloscopes come in handy as well in many cases. . Stuff I was thinking of whilst preparing my posts, and I don't mean to unjustly treat you as a beginner - I just don't know what you know: - FM-synthesis performed on a modular subtractive is a wholly different ballgame than the same settings (using the term loosely here) in a digital FM synth. One either needs to understand well-written descriptions of the differences in sound (seems near impossible to me) or one needs the raw experience. - A wavetable waveform morphing into another wavetable waveform whilst being filtered through one of a gazillion different comb filters seems near impossible to recreate to me, unless you've heard exactly these combinations and know which synth can do it. - Even the synth in Van Halen's "Jump", a simple subtractive patch you replicate in minutes if you have an Oberheim, cannot be done on a Polymoog or a Prophet 5 (which would probably come closer), and even a synth plugin with good virtual analogue capacities would need to have the right type of filter to pull it off. So just listening to the sound is not enough - far from it. All the best with this! Have fun! [/quote] Hey - I wouldn't necessarily say I'm a beginner but I am far from competent compared to others out there! At the moment, my method is basically identifying as much of the core component sounds as I can - sine is pretty easy and I'm getting better at square and saw tooth identification and then working from there. With the two sounds side by side, I can usually hear and get pretty close, especially now as I'm getting a lot more savvy with the detuning and fine tuning options on those waveforms - from there, it then goes into the realm of trial and error... playing with attack, release etc... and the LFOs themselves. It sounds to me that experience is the key player here - guess I'll just keep plugging away. I had hoped that there was some sort of more pragmatic approach, but like anything, the more your practice, the better you'll get! EDIT : Forgot to say, yes, have long been into applying chorus, flange, delays etc to the resulting synth sounds... and even multi layering with different EQs, rates of modulation etc. As implied from others, trying to unpick all of this can be a nightmare... especially when you hear a phaser effect and mistake it's phase rate as the synth sound LFO!

Whats the finish on your bass? Got a pic of the damage - it may be possible to get a good (=invisible) repair. Of course, that you can your drummer to pay for. This is what p1sses me off - it's never you that damages your instrument, some other clown will make sure that they do it for you.

[quote name='Subbeh' timestamp='1453134819' post='2956710'] I feel much the same way about the Paul Grey/Slipknot sig Ibanez ATK. Always fancied an ATK but the lefties don't come up too often. I've seen a few of the Paul Grey ones crop up but no way could I live with the inlays. [/quote] Just googled. Man, that's some hideous inlays going down.

[quote name='Jellyfish' timestamp='1453128308' post='2956599'] Adding on from this, I reckon it's the signature sound of the player that really pushes the sales more than anything else, especially in the rock/metal side of things. Fieldy from Korn and his Ibanez K5 comes to mind as well! [/quote] I'd have bought this K5... if it didn't have K5 tat at the 12th fret and that shizz on the headstock... I wouldn't have wanted to sound anything like Fieldy either...

The standard method is 1200 wet and dry - used with water and washing up liquid... with everything taken off the body... trying to think of a way if I've seen anybody do it differently.

Is this for the body or the back of the neck? Or both?

[quote name='ambient' timestamp='1453128833' post='2956615'] I tend to use Google, if I'm after a specific sound that I've heard on a recording. What sound are you after ? [/quote] I'm currently trying to cop the synth sounds in Starlight - Supermen Lovers. The opening synth sound (it's stacked with some sort of string pad (you can hear the LFO quite clearly), some sort of organ-esque vibe thing and something else that I haven't got anywhere near yet. I've got an approximation of but it's sounding cheesy. The break down bit seems to have a kind of oboe-esque thing going on (I'm sure that sound is off some cheap casio from my youth)... which I'm approaching. And the clav type sound I got nailed.

[quote name='Count Bassy' timestamp='1453065320' post='2956140'] And, yes, with any nice gear there is always the problem that it raises peoples expectations as to the quality of what you do, and with signatures there tends to be an expectation of style as well (at least to other bassists - Punters generally don't have a clue, and care even less). Needless to say, anyone who see's my gear and has expectations will be sorely disappointed! [/quote] The amount of times that I have face palmed when somebody brings out a 32" Status strung with 30s to play a function gig, with scooped EQ.... Doesn't really give you the bottom end that you'd want in a covers band.

Hi BassTractor - what you suggest is pretty much where I'm at. I've got very close to some synth sounds and then there's times where I can never seem to even get in the same ball park. But yeah, I've spent days (even weeks) as opposed to hours to tweaking the synth sounds. In fact, I've already set tonight (and probably way into the early hours) aside for another tinkering session. I wouldn't say I'm a novice in terms of knowing what synths do... but what I am aware of, is that there are lots of guys better than I am at hearing a sound and being able to say something like, I'm hearing these particular wave forms, and this number of LFOs etc... or say, yeah, thats 3 stacked synth sounds. I guess that's where I want to train my ear to be better at recognising what I am hearing. Not saying I'm going to be a savant or anything - but would like to be better at it. As you say, it may be best just to continue as I am and hoping that the skill develops naturally over time. If I can get this skill up to the level where I'm already at with the rest of mixing in logic, I'd be happy - I just feel that this is the bit which is dragging for me. For originals it's not so bad... but when trying to recreate... that's where I'm not so happy with my performance. As for delays - defo, I've figured that a lot of famous synth sounds - especially stuff from the 80s - is reliant on them. In fact, I've kinda switched from being a reverb guy to a delay guy as a consequence.

Hmm... there's loads of guys on some forums that I am on who have been pretty damn good at nailing some famous synth sounds on EXS24. I can get with where you are coming from though.

Has anybody got any tips on how to recreate synth sounds, typically in Logic. I'm looking to train my ear and am looking for any useful tips/advice/tutorial which would aid my progress. At the moment, my methods seems to revolve around fluke and trial and error. I'm sure I can be more pragmatic about my approach - any recommendations greatly appreciated.

[quote name='peted' timestamp='1452875226' post='2954364'] I bought a Shuker based on merit of Dan Veall's endorsement. Does that count? [/quote] You know what, forums are probably responsible for a lot of sales. Look at what forums did for Barefaced... and speaking of Dood, the bass community probably would not have even heard of a certain wireless system if he hadn't have brought it to attention.

What we should all do is order said cab. Should help them focus their attentions a bit better...

Think that's one for the service department at Ashdown...

Funnily enough, I was reading through the Fodera artists page earlier... ...and was staggered to find I hardly knew any of the names. And so I clicked through/googled some of the names and where there were active websites, found that quite a few of these artists weren't pictured with Foderas. (not so much the first page but the others... I think Fodera is like a mystical coveted item... you know, you've made it into a certain private members club if you have one... and nobody is really committed to saying how good they really are... or aren't. I certainly wasn't impressed with the sanding marks I found on the couple I played at the Epifani stand in Frankfurt.

Amazing OP!

what frequency ranges are your wireless running on?

[quote name='Count Bassy' timestamp='1452783549' post='2953480'] Not read the whole thread, so probabbly already said: Although a 'signature' wouldn't make me want to buy a model for that reason it does mean that there is a wider variation of models out there to choose from. I had never heard of Stu Hamm untill I waws researching medium/short scale basses, but ended up with a Fender Stu Hamm Urge (Mk1) anyway. Not because of the name, but because of the combination of features it offered, in particular it being a top quality 32", 24 fret. Would Fender have made this without some sort of endorsement? Who knows? [/quote] Would you prefer it if the name of your instruments wasn't named after Stuart Hamm? But you are probably right, Fender probably would not have made this instrument if it wasn't for Stuart Hamm... but I'd be with you - my interest in these basses has been down to their specifications rather than the name attached to it. In fact, one of the reasons I haven't bought a Kingbass is because I don't want to be in that pool where people assume I play a certain way because of the bass that I use...

[quote name='Rich' timestamp='1452774514' post='2953307'] I hadn't, up until now... [/quote] Oops. Sorry!

[quote name='Rich' timestamp='1452774201' post='2953298'] And I'm very grateful to him [/quote] I suspect the Future Impact may put an end to that gravy train!

Talking of Sire... anybody else think of the ends of one of these when looking at the logo...?

[quote name='chris_b' timestamp='1452770508' post='2953230'] Dave Swift doesn't like Lull basses. [/quote] What is it that is not to like? They are remakes of standard basses, most of which, in one format or another are in his arsenal...?

Question following CW Youtube viewing - Is CamdenRob wanting a Vanderklay or a Zon yet?