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Gervais Cote said:

Do you know if it holds up against a hard hitting drummer with a big drum set ?

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It works for my band setting. I would suggest trying one out to see if it works for your situation.

Parts of it may be missing. There are a number of pics that I found by searching "schaller magnetic upright bass pickup," which show a couple tabs that screw into the sides of the f'board like this picture.

I didn't want to drill any holes, so I made a pickup (which I no longer have) that clamps onto the edges of the board instead. The clamp I made was unique to the size and shape of my Kay fingerboard. If I were motivated to put screws into ebony, which I'm not, I'd use machine screws and tap the holes. Which I'm not going to do, but just saying. Another idea would be to attach a longer tongue to the pickup and mount it beneath the board with dual lock, so it would have area to grab on. But I admit that the whole concept makes me nervous.

i just installed fodera v1 preamp on my custom bass and it sounds great! current setting for switch board is coil tap, active/passive and kill switch. I want to change kill switch to mid selector switch, but fodera does not have manual on v1 version... the oldest manual on their website is v2 preamp ... which has different switch board jumper layout.

wondering if someone here have old fodera preamp wiring and jumper layout, my preamp was taken off from Fodera Imperial MG year 2000.
here is the picture of switch board jumper and some unused connector that i am curious about

ezstep said:

I worked with a guy who performed with Tops in Blue for several years. According to him, there were several NCO's, one for every two performers, wearing headphones that listened to those two performers only. They noted each and every mistake and they were "graded" (for lack of a better word) on each performance. He loved it, but he admitted that there was pressure. Helluva singer, though. I have seen an Army "rock" band, a Navy concert band, and, yes, they are HIGHLY talented folks.

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Maybe they should just play midi files. Jeez.

You can, but I think you're going to develop some real bad habits that will be difficult to correct later on. I'm not sure how well a guitar teacher will be able to spot and correct your bass-specific fretting, plucking, and muting techniques. These are essential fundamentals.

To this day, I still struggle to get rid of the habit of wrapping my thumb over the neck to mute and fret the E string with my thumb—a habit I picked up from playing guitar.

Much of my playing with adult and youth choirs involves reading through piano/choral scores that are sent to me as PDF- typically no bass parts. I always print a backup copy, but do the rehearsals and performances with an iPad + page turner. Some of the scores will have as few as six measures per page which gets old fast. Before deciding, I always ask myself if the iPad is going to make the gig run more smoothly- if not, it's paper!

Moredator said:

Hmm, no bass suggestions but 30" scale strung e-c sounds like a very nice instrument! Following

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I’m intrigued my the MTD. Looks nice.

Well...
As far as the La Bella LTF-4A Low Tension Flats go? Other than the Dogal "Jaco" CarbonSteel Flats, I can't think of any flat wounds that have less pull-to-pitch tension than they do. Even the TI Jazz Flat have more. Not much more, but... more. And, as for the La Bella 760FX DTF's? Yes, they do come in a short scale set. I have them on my '17 Dano Longhorn right now, in fact. The only real difference between them and the 760FD set ( the ones made for the Longhorn) is a slightly heavier E String (96 vs. 89). I had the FD's on my Longhorn for a short while, but I found the lighter E string just a wee bit too... flexible... for my pick-playing style. Other than that? Really nice strings. The 760FX's are also available in a long scale set, but I had to do some searching to find a dealer that had them. They're on one of my '98 1st gen, MIK Dano DC59 Pros. I'm very happy with them on that bass, too...
Regarding strings that come on a new bass (or a guitar, for that matter)? Sad to say, most companies just buy strings in bulk, and put them on pretty much every bass/guitar they make. It's hard to find a brand new bass that doesn't come from the factory with D'Addario ECB61 rounds on it (even my Longhorn had the things on it). And, trust me - ECB61 rounds are NOT the best strings for every bass; no string is. They're perfectly decent, serviceable light gauge rounds, but... not everybody wants to play the string equivalent of a Ford Focus....
So, when you do change strings? It's always a good idea to at least check your setup, when you do. Maybe everything will need adjusting; maybe nothing will. But, it's always a good idea to check...

bassically_eli said:

My cabs all have the original 8” eminence driver, which is not available. I’m hoping the TS parameters of the Ciare are close enough.

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Ah, gotcha.

I couldn't tell you. :-/

I believe that Mike's design goals for each of those custom drivers were pretty similar -- and it seemed that some of the MAS/Big E designs, at least, worked well with at least a couple of different drivers. The early, bigger MAS 112s were available with an 18Sound, an Eminence, or a Faital, for instance (stock drivers, those) and the short-lived redesign of the MAS 110 (which I started a thread on, right before the Ciare drivers dropped) were available with a couple of different (I think custom) drivers.

Mike seemed to tweak his cabs and crossovers with each iteration, though, and I'm sure that at least some of those tweaks were driver driven (even though he influenced the design of many of those drivers).

I think your chances are decent and that it's worth a shot, but I can't say anything for sure. It would be good if you could get some confirmation (at least of which Ciare drivers are "Mike's") if not some guidance from Mike, himself.

I sent you a PM. Hope you reach a positive resolution!

P.S. I don't know if big speaker companies like Eminence would re-cone/repair a driver you sent them, for a fee, but maybe worth asking them?

Just saw this thread and listened to the album for the first time in a long time. Such groovy funk lines and deep deep tone!

Well I survived the Friday outdoor gig. Three days straight of 100+. Like walking into an infinity sauna! Fortunately we had a gazebo with some shade and a “ceiling” fan.

Was still way too hot for upright. The Fenders were happy to get some straight ahead time.

Wasnex said:

This is a pretty basic bass line.

Whoever wrote the song most likely determined whether the chord would be in root position or inverted. I doubt the were thinking about theory. More than likely they were thinking about how they wanted it to sound.

7th Chord Theory

• Root position: 1,3,5,7
• 1st Inversion (third in bass: 3,5,7,1)
• 2nd Inversion (fifth in bass): 5,7,1,3
• 3rd Inversion (seventh in bass): 7,1,3,5

These are close interval chords. The intervals don't necessarily go in order for open interval chords.

Guitar has it's own unique way of stacking chord tones. Some chord tones may be left out.

On piano an open 7th chord in root position might be 1,5,7,3

With chord notation you may see slash chords. The chord is specified on the top or left of the slash and the bass note is specified bottom or right. A/C# is an A major chord with C# in the bass.

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Awesome thanks

Ian774 said:

Any experience with B3K into VMT?

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Yu know… I have only ever had them at separate times and have never had the chance to stack them. But I imagine that would be kind of the perfect modern overdrive stack.

Hi all, I have this pre-amp also. I have used it for at least a decade. Here are some things to know about Radial Engineering. They are an audio solutions company from Canada that build the highest quality Direct Boxes, Signal Buffers, Signal Switchers & Re-AMPERS, (a type of signal buffer) in the world. Their gear is found in touring rigs all around the world both on the production and instrument side of the signal chain.
The thing to know about this pre-amp is this: I use one input for my active basses and the other for my passive basses. I roughly match the inputs based on the two types. I use a Radial signal buffer (SB-15) on the passive input. I run the FX loop output via said Y cable, to a Radial BigShot FX 2 channel FX loop switcher. This is a buffered send/return configuration on the pre-amp. One side drives my rack effects, the other drives the effects pedals on my board. This, I find, is the best way to optimize the loop feature. I also correct the overall output using the boost control. So if I need to turn down the active basses while leaving the passive input at full throttle I'm okay. It still drives the effects loop perfectly well when set to both FX Loop/Boost.
If I need an actual boost I use my volume pedal or the volume on the instrument itself.

All told this is a great preamp. Adding the FX loop switch is key. The second loop can be for the volume pedal if you don't have rack stuff or you can seperate the dirt from the time based effects. It's cool.

I recommend you try it. As far as the detent thing goes, I don't really use the Eq much, preferring to leave everything flat so I can't really speak to that. I tune the cabinets to sound neutral and the instruments do the rest.

I just picked up a Laney LFR112 to try out and I have to say I am super impressed with it. enough so that I'm buying another one and/or an LFR212 for bigger no PA support gigs. I'm using the Laney Nathan East Preamp and now I have pretty much the same sound whether I'm doing an ampless stage or using an amp.

Same. I'm using three pedals (preamp, tuner, hpf/lpf) and a power supply mounted on a piece of plywood. It goes either on top or right in front of my amp. I don't see the need for a case for it or a proper pedalboard.

I built the doubledecker bindings for the bridge pickup ring. Again with the 6 mm abs, this time I used the abs-acetone cement for all of them.

Bob_Ross said:

I'll be honest, I've never liked Ben Sidran's music, and the few tiny exerpts I cherry-picked from that video did nothing to disabuse me of that opinion...so I didn't watch very much of it.
Obviously a stellar band though; TLev, the Brecker Brothers, Mike Manieri...
But who's the drummer? In the (very) few shots of him I skimmed across I guessed either Leon Ndugu Chancler or Steve Jordan?

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A young Steve Jordan. Same band without Sidran.

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urkel3000 said:

Wampler belle is a good clone with bass/countour controls

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Yeah the Belle is great, and can be found around the same price as the ODR-mini

I've been having fun with my Portamento so far. A week after I got it, I took it to our modern service (complete with the dead chromes and little fretless experience on my part). I soloed the bridge pickup with a bit of bass boost and a pick for the first song. I used both magnetics for the next song. Third was an acoustic song so I used the piezo with some neck pickup. Last song I used the neck pickup with synth affects. I wasn't expecting it to work in that setting but it did well. It's much more versatile than I expected.

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This weekend I put T.I. Jazz Flats on it. They are much brighter and make the magnetic pickups sound much better. It has tons of mwah now (almost too much). The piezo is harder to tame though. I imagine once they break in, it will be much better.

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Apparently the Giant Anteater sank its claws into this Jaguar, thereby encouraging it to find something easier to eat.

I bought the NS designed strings for the Omni and put them on my Ibanez UB805.

They are stranded strings, softer feel and have a little more acoustic bass sound.

Had 2 gigs this weekend and I used the cab with my GK MB200 which pumps only 140w @8ohms. Sounded great and did an awesome job. I may search for another one but it needs to be in similar condition. Maybe the 2x12 version. These bring the boom.

splitoak said:

@agedhorse I'm in a similar position, long time guest but my Shuttle 6.2 has an issue(s) and I'd like to have it repaired. The "peak" light is on constantly and no sound other than intermittent pops. Many thanks for info.

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I will message you with the info.

I'm curious what notes are available. A lot of pitch shifters offer 2 or more octaves in either direction, but there's usually just other octaves available after the first octave; sometimes there's a perfect fifth, but I haven't seen one that has all the smart harmony settings past the first octave.