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I love both pedals, but the cdr+ lacks the hpf/lpf blocks which was actually really disappointing. I run each in its own loop (via EHX Switchblade Pro) with the ability to switch their order. Outstanding value on these and definitely an upgrade over the previous iterations (I'm a long time b3n user).

SBassman said:

Is it balsa wood? How can it be that weight?

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Ash, and the pickup & control cavities are a chunk of the total area. Additionally, the forearm carve is pretty extreme

After tripping over guitar stands in some for one reason or another since the early 80's, I finally pulled the trigger on some 'mazon guitar wall hangers.

Branded 'Omniwod'. I like the nice wooden mount, it goes well with our traditional woodwork. Easy to mount, one you drill out the wooden screw holes to 3/16" so the screws clear. And it holds the guitar away from the wall. If you leave the bolt a bit loose, then it will pivot as needed for the headstock.

Both of the bolts that attach the metal yoke to the wood stripped immediately in the first set. I mean IMMEDIATELY (and I'm a pretty handy guy). And that bolt is welded to the yoke, so it's not going to be easily replaced. Anyway, those went back and the next two popped together seamlessly.

I think these kind of offerings generally have more to do with what the teacher wants to teach (or thinks is marketable) than what students demand. Nothing wrong with that; many students don’t know what they need to learn.

ardgedee said:

"Interpolate" is a more genteel term than "copy" or "mimic", I don't think there's anything more to it than that. Maybe it's a little less legally triggering, but in the end they mean the same thing.

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But I've never come across any definition of "Interpolation" that actually describes it that way, or that could (in my opinion) reasonably be interpreted as describing the modern use of the word.

I'm sure future editions of established dictionaries will include the modern use amongst its definitions, because it's in popular use (even if it turns out to be a misuse), and it's by now been used in the modern context in print media (both of those things being criteria for inclusion in the Oxford English Dictionary).

I was just curious when the first use / misuse was, and if it had appeared in the Gilbert O'Sullivan vs Biz Markie case (whether Markie's legal team tried to claim a defence of interpolation, or O'Sullivan legal team eliminated interpolation as part of their case), which would make sense both in terms of people citing that case, and interpolation having a legal definition that covers the modern usage.

ardgedee said:

It's not just for sampling any more. A lot of the oldies music played over the speakers in big-box stores and chain restaurants these days are interpolated performances. For background music it's cheaper to hire people to exactly mimic a hit single than to pay the fees for the original recording. Which says as much about how little musicians are paid these days as it does about how much record companies are demanding.

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This is nothing new : throughout the late 60's to the mid-80's, rather than buying full priced hit singles, you could instead buy "Top of The Pops" albums every couple of months, for a fraction of the price, that comprised pretty faithful recreations of current top 40 hits.

Bizarrely, not only were some of the tracks performed by future hit makers (such as Elton John) before they were famous, but in a truly meta moment of pop will eat itself, some of the records were so popular that they charted in the top 40 (where I assume a smaller, cheaper label decided to cash-in by selling albums of cover versions of albums of cover versions...)

Looks nice! almost Reverend like.

My only concern is access to the dusty end, I wrote a tune that has chord work to the 23rd fret and some basses I simply can't do it.

Michael Drost said:

FWIW, I tried my Boss IR-200 with my homemade EUB(3 Sigma German IR's with Full Circle) for the first time. It sounded shockingly good through my headphones. I'm going to try it through my Genzler Gollihur Bass Array soon. I am optimistic. Next, I'll try it on my double bass.

PS - Here's my son playing the bass without the IR loader. You can get an idea of what I'm dealing with....haha... Login to view embedded media

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Michael Drost said:

FWIW, I tried my Boss IR-200 with my homemade EUB(3 Sigma German IR's with Full Circle) for the first time. It sounded shockingly good through my headphones. I'm going to try it through my Genzler Gollihur Bass Array soon. I am optimistic. Next, I'll try it on my double bass.

PS - Here's my son playing the bass without the IR loader. You can get an idea of what I'm dealing with....haha... Login to view embedded media

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Amazing playing and the EUB sounds really good!

Is it still up for sale?
If not, could you, please, share who made it?
Thanks in advance!

mam1862 said:

I’ve got multiple basses that I enjoy playing. The Pino in my opinion is a great bass and sounds fantastic and is easy to play. It also helps that my wife bought it for me as a 60th birthday present. All things aside I do think it’s worth the price.

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Sounds like a winning wife! Question - did she just pick out the Pino for you or did you tell her what you wanted?

white

badgrandad said:

As a newb forgive my ignorance but what does the higher impedance level do for the sound of the piezo?
I am assuming since the Ibanez has some sort of active circuit in it it must have some type of buffer as well.

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I’ll leave it to others to explain more fully.
The input impedance of the mxr is what they will talk about.

Back from the dead again! Here’s my SQ P. It’s my understanding that “SQ” serial number basses were for export to US markets and were modeled after 1970’s spec Fender specs. The JV serial numbers were “Japanese Vintage” and modeled after late 50’s or early 60’s Fender specs. The later E series were from the same factory and similar build quality with specs ranging. All are great quality from my experience.

put in an LED on a low battery indicator circuit.

I am ok with a well setup stock bridge but I did put a Hipshot supertone on my Tbird and I must admit it kicks mucho ass, that bass is a weapon now

smtp4me said:

I'm not an electrical engineer. My understanding is that shielding the control cavity does not really add much value (juice is not worth the squeeze). Sheilding the pickup cavaties - most definitely. But again, my understanding is that pots, output jacks etc. do not pickup extra noise. In fact, if anything critical in the control cavity touches the shielding it can cause unwanted results.

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Well you got that wrong. It's not the pots ot the jack in the control cavity that pick up noise, it's the wires. Lots of basses have buckets of wire in there, all acting as antennae. The worst offenders are some basses with preamps onboard, like this:



What may have set you on the wrong road is advice given about guitars (or basses) that use shielded wires in the control cavity, like many Les Pauls. Instead of shielding the cavity they shield the wires. The pots are already shielded by their cases. If a barrel jack is installed, it too is shielded, though an open jack is not. That only leaves the capacitor unshielded on a passive instrument, but all the other electronics on an active bass as well.

MonetBass said:

My feelings are mutual about that song. Horrible.

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The one they went with is pretty ugh as well.

As is the show.

Zooberwerx said:

….hand-delivered to your door by a stripper.

Riis

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They only offer that for the US made basses....

PPs are awesome. MadLad on Reverb made this body in ash for me (and he's made it a regular model).

I never tried one of the original G3’s but I remember after seeing D’artagnon Brown tear the house down on a Gibson Ripper back in 1976 I was quite eager to try one…but I never had the opportunity.

5StringBlues said:

Doesn't matter, punk was never about music anyway.

Some bands eventually changed that, but attitude and fashion were the thing.

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That said, l do appreciate the lyrical content of some of the later 70s bands.


None of which can be discussed on Talkbass.

Dr. Cheese said:

I got green. It is almost the same as my Sadowsky Modern.

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That's a sharp looking bass. I think you will really enjoy the JT5. You'll get used to the fanned fret thing in no time. I'm curious to hear your take on the Neve preamp. As with Sadowskys, matching a passive tone control with an active preamp works really well.

Looking forward to seeing and hearing your new bass.

Best,
Bones

Axstar said:

I found a sculpture, erected in honour of Boz Burrell, down at the shore area of Leith, Edinburgh, last year. Apparently nobody knows who commissioned and installed it, other than that Boz had links to other musicians in Edinburgh.

I have half a memory of seeing a photo of Boz with King Crimson, and he is playing a Jazz bass with a mudbucker fitted up by the end of the neck, ala Sheehan.

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Cathy, Boz’s wife designed and commissioned it in the shape of a bass clef . Boz’s ashes are scattered right by the steps. (Please throw a little bottle of Smirnoff in, when passing!!) We lived in Leith for a couple of years and he had the MOST fun playing, writing and producing the music for his band “The Celtic groove connection “

They mean that, in the playing position(s), only one screw should be touching, the size of the gap is inmaterial. You're appear to be fine.

brianrost said:

I’ve yet to play an active bass where turning a boost/cut bass EQ past 2:00 was really useful. Small adjustments work best, at least for me. One thing I listen for is how much the bass boost fattens up the G string.

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I always use my Sadowsky as my reference for actives due to it's "sit in the mix" quality, plus I'm just used to it. Just a slight boost of the bass on that gets you in that sweet spot where you get that weight in the mix but the bass still sounds clear and natural - like 10-20% boost, tops. Any more is overwhelming. You also get that slight scoop that starts to happen around 300hz when you boost bass/treble. With this Bart pre as well just a smidge of bass boost does it. Then I find just barely cutting some mids at 250 gets me a really nice articulate sound, still plenty of mids to speak clearly as it's so mid-focused to begin with.

superiorpine said:

you are an inspiration

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+1

consectaneus said:

I also just noticed that the pickups look like Strat pickups. Bass VI pickups even across all reissues have the squared off ends and the serrated metal “claw” surround.

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Yep I'm pretty sure this is a jaguar body with a 30" scale neck of some sort