matybigfro

Close but not quiet spot on. Speaker simulation (how boss refers to it's own ir's) or IR's are tied to A.I.R.D. amp blocks (how boss refers to amp simulation) so when both amp blocks are switched off there is no speaker simulation. Output selection is irrelevant in this configuration regardless of how it's set speaker simulation is also disabled. Alternatively if you have output set to recording in the speaker simulation block you can then also select the speaker type as off and then you will have no amp simulation regardless of whether the amp block is on or not.

The Drugs Don't Work - The Verve

Sweet child o' mine - Guns and roses

You can't have it all - Ash

Except as was already pointed out in the thread room the idea of an overall 'in-room sound' is a bit of a misnomer . Unless you are able to listen in multiple locations in the room or very very experienced with how your bass sound reproduces in different rooms and have a high amount of control of many variables there's very little guarantee being in the first camp produces a better result than the second.

Space Oddity - David Bowie

@Stub Mandrel is he mostly struggling with coming in at the start, staying locked with the groove or managing transitions?

Ride the lightening - Metallica

Yellow Submarine

B15Too good to be true

@sikpete I'm intrigued as to why you're particularly want a multi-effect over looking at individual pedals? If you're wanting to be able to match as close to possible a range of recorded/player/band tones this may be the best bet but be prepared for likely a significant amount of investment in time programming the units to get the most desired sounds. I do think one area where many modelers/multi's are weakest and have had the least development in is bass specific overdrive, distortion and fuzz algorithms. I think it tends to be a little over looked by most companies again not that they sound bad but often the OD, distortion and fuzz replications have had more tunning for guitars and often the guitar and bass amplifiers are where most development is spent on the digital side. You then have the dilemma of looking at how to make sure you have the sound you want on stage and through front of house (while not impossible it is another later of complexity). You've clocked this already with the dilemma of do you run the quad into the input of your genzler or the FX return. If you are using the amp modelling/simulation functionality these pedals then ideally you should run into a fx return or dedicated flat amp (like the GS sumo or bass amp where the pre is designed to be flat and uncoloured with a very basic eq) or a appropriate power amp (crown tend to become of the favoured). Then there's choices of CAB, do you keep your barefaced which will add additional colour to the tone coming out of the QC or other or go for something more transparent like the big baby or big twin. It can be done but it is a significant commitment and a possibility that you might not be as happy with your base tone as your current setup provides. If your current head/cab is something that you feel happy with and enjoy and you only need some occasional colours/flavours for getting in the ball park of a bands sound for the odd song I think I'd suggest sticking with individual pedals. While you might be able to get very good) incredible sounds out of a QC based rig you might never quiet the in the room sound you are used too currently (if that is currently perfect in your ears) If you don't fancy tap dancing and money/budget is not an issue you can invest in a switcher either as simple as a Harley Benton or Mooer or at the more expensive and extensive systems from Boss or gig rig along which would replicate the programmability/technical complexity of many multi's that enable complex sound changes with a single switch. The benefit of these is it allows you to swap in and out individual pedals to your tone hunting delight. There are so many stomp boxes out there that the tones in your head will be achievable with patentience and investment. Personally I use a Boss GT-1000 core and my reasoning was I wanted to be able to get as close to the multi channel/band processing I use when recording when playing live. It's not perfect but it gets pretty close although requires allot of time getting there. My band did a covers set for NYE and it got me close enough to a range of sounds without too much effort. That was after a few years of using it to get tuned into it's controls and interface and how it works. The Gt1k interface is very different to most other modelers/multi's as it has no touch screen or colour display but actually I think once you learn it its probably the easiest and quickest to use on the fly. It's also got the least accurate amp models, not that it sounds bad at all but it's Amps are not even attempting to be able to sound exactly like 100's etc other exact amps from history and more like highly usable great sounding approximations of a few classic amp types or tones. So if you were wanting to sound exactly like such and such a record or amp it might not be there one whereas QC will certainly get very very close to many of those with the right time and gear and ear. Even then no multi effect is as easy to tweak in the moment and provide as much certainty of what sound will come out when you pluck that string as a few stomp boxes into your favourite amp. And if your amp setup is making you 100% happy you might be better off looking for couple of individual stomp boxes that will get you 'close enough' to ya 'clubfoot' or other individual song tones. Just my thoughts from what you had shared and my own experience. I'm sure whatever decisions you make you'll have plenty of fun, do keep us updated on your progress.

Regrettably, I feel I have no choice but to leave negative feedback regarding my experience. I purchased an EMG P-Bass pickup via bank transfer based on Stevie's positive feedback here. He informed me that the item had been posted and provided a Royal Mail tracking number. However, the item never arrived, and the Royal Mail tracking status remains stuck on, "We're expecting it. The sender has advised they have dispatched your item to Royal Mail. More information will be available once we have received and scanned it into our network." I've tried to resolve this issue through direct messages and social media, but despite some communication, many of my messages have gone unanswered. At times, I've been left waiting for weeks or even months for a response. Unfortunately, the situation remains unresolved. I am now out of pocket, with no pickup, no refund and still no response from Stevie in almost three months, and feel it necessary to warn other forum members about my experience.

Great for that solo Plutonium Jazz set

Oh wow this is exciting 6 new bass amps is an absolute gift

No to be fair I need to get round to this

It's pretty fing cool, if I was using my C4 more I would be chomping at the bit for one of these especially as I love some bit crushing. As it is this is the kick up the but I need to get the source audio midi adapter so I can hook up my Boss Gt-1000 to the C4 and start making use of it more again. For now will have to stick with my hotline krush for all my bit crushing delights.

Was this the closest guess before the additional clues came out? I mean this in an entirely complimentary way.

Signal chain is Korg Pitchblack tuner > Source Audio C4 Input/Output 1 > Boss GT-1000 Core Input GT-1000 Send 1 > Boss OC-2 > GT 100 Return 1 GT-1000 Snd2 > Myrtle Pedals Corvid Fuzz > Hotone Krush > C4 In/Out 2 > GT-1000 Rtn2 Boss GT-1000 Left Output > Citronix PPX450 (or whatever bass amp venue/headliner provides) Boss GT-1000 Right > DI front of house The signal processing and EQing in the Boss is pretty complex, I have multiple split paths running essentially giving me separate processing over three bands everything below 80hz, and everything above 2.5hz, mostly clean or octave effects, some compression, natural amp sim and blend of cab IR and direct signal, everything above everything above 80hz goes through a guitar amp sim and IR with the drives and distortions applied. As well as up to 4 blocks or parametric or graphic equalisation that i can place in the signal chain in the boss's routing it also has a stereo master EQ section so I can EQ the left output to my amp and leave the front of house DI flat. New Strings will be on order as soon as i get paid (I'm a skinflint so normally wait to upgrade before any recording sessions or big gigs) any recommendations for steels that balance price and longevity

Current strings are super slinkies just coming up to 6 months old, was using D'addario NYXL before that. Have had consistent EQ for the last 4/5 years, I tend to bring the treble down notch when strings are brand new and within a couple of weeks it'll be back up. Initially I was running a berhinger BDI21 (sansamp clone) as floorboard preamp into the FX return/power amp in of various practice room spaces house amps. I would run the BDI pretty high if not maxed out on treble at times and bass in about 11 0'clock sometimes lower. Then we got our own practice space so I got a old Citrinix PPX 450 power amp into a Peavey 410 tx (tweeter between 60% and 100%) and then replaced the BDI and a fair few other pedals with the Boss Gt-1000 core. i still run treble and presence fairly high on the amp Sims but not full anymore. I've also run my Core through studio mons and a full range PA to sound check my settings and have maintained fairly consistent results across those. Live the Boss goes direct to front of house. Did a hearing test about 2/3 years ago last which showed no major issues which I was fairly surprised by given the couple of decades to abuse they'd got by then. Irony is when I played guitar I was a little treble averse and all about that low end chunky distorted sound. I don't think it's a hearing issue as it's about the sound for me, I'm not boosting treble when mixing our vocalists or setting the eq on the hi-fi in my car but it is the sound I want/like for this particular band/musical project for my bass.

What sort of benefits do the active blend and tone control upgrades deliver Vs the EMG's into passive controls and using the EQ on my pedal board?

I play a MIM Jazz with I think stock pickup and what I think is a parts P Bass with some powered by Lace pickups that seem to have a bit of distortion or clipping when the volume is full. For the last few years to get he sound I was after in my bands I've been boosting the treble heavily. Initially with a berhinger BDI21 I had the treble almost dimed and bass as 11, it would always get very noisy at these settings. now I'm running a Boss GT-1000 core and my amp settings on there are usually still pretty high for treble and presence, the noise level is not as bad as the BDI but even with smart noise getting it's an irritation. I have been considering upgrading the pickups or electronics as a way to get the sound I desire with better signal to noise ratio. I've been watching a fair amount of videos for ideas of which ones may get me the sound I am after but it hards to find videos of them being compared to each other so if anyone has any experience of some of these I'd appreciate your thoughts. Bill Lawrence/Wilde J46 Lace aluma J Dimarizo Relentless J Seymour Duncan Apollo Jazz EMG active J While a general extended tonality is desirable I'm mainly wanting to not loose any low end while increasing treble and reducing noise. I'd like to avoid needing batteries but if it gives the best results I'll get with it.

This pedal is such underrated gem, the filters are tuned so perfectly, with just the the low knob on it gives you a perfect EQ for Dub bass, pair it with an octave pedal and i think it would challenge most meatboxes for speaker destroyer of the year

The Vintage Deluxe slightly spoils the the cool goth style going their

For low gain for bass I actually think the Barber Half-Gainer is the ultimate pedal if slightly overkill It's based on the Barber LTD which is a dedicated low gain unit with very transparent but sweet drive Not only does it add a channel so you have two drive settings but a very versatile Bandaxall style Tone control (Neutral at 12:00, treble cut and bass boost to the left and Bass Cut treble boost to the right)a dedicate Mid's/Character Control that gives either mid cut or boost with changes to freq point and curve and internal trim pots one for presence and Bass. Only fault I had with it was it was slightly big pedal (although hardly much bigger than fulldrive just orientated differently) Actually think this was one of the most underrated overdrive pedals of all time and that Barber is a lost hero of the boutique world. It's a shame it's now discontinued. As someone extremely sensitive to low end or sub loss from overdrive pedals this pedal was perfect as I could dial it in to be essentially a completely transparent drive which simple added gain to the bass signal presented (which ironically takes a fair amount of eq adjustment) or a very wide range of overdrive sounds from scooped to mid-boosted. For low gain it was simply the best option in my mind.