bassist_lewis

I got mine from Joe's Pedals. based in the UK, so cheap and quick postage. There's also one for sale on reverb just now for £170! it went up the day after I bought this 😤

Bought pretty much on a whim, and I am not disappointed. The low octave sounds great in 'low' mode, and the tracking is AMAZING all the way down to low F. Also has that old chunky vintage aesthetic. The soloed octave sound maybe isn't quite as gritty/characterful as the OC2 or Octabvre... but still solid af.

Early Boss pedals used a weird power section that dropped down the incoming voltage for some reason. They can run on 9v if you daisy chain them (I think you have in your picture), and my OC-2 runs fine on 9V, but the chorus didn't work at all.

Its a really lush sounding chorus, just needs a weird 12V power supply!

Some slight alterations to the board. I decided I didn't use the Dweller Phaser often enough, and I have more use for some light tube amp-esque drive from the Jive instead. The Tru-Fi Super-Fuzz is a super awesome octave fuzz, and the Octron3 is also f***ing fantastic, and may even replace my Octabvre long term (we'll see).

I tried to get one. Put a reminder on my phone and everything, but I hesitated over which gain type to get and missed out 😔

What's the space like underneath?

I'll be watching this closely.

It really depends what you're using and what you like. I have the JHS Crimson, which is basically an early 90s Russian Big Muff, and at some settings of the tone knob, it gets very thin and un-bassy. My Malekko B:Assmaster has a dry volume so sounds very full, but my Tru-Fi Super Fuzz has no dry blend and its still has really good low end response. When I'm using a fuzz, I'm looking to cut through with mids and top end, so I'm not particularly bothered by having lots of lows, though its better when its not totally sucked out!

Up until 2018 I was freelance so I played in dozens of bands a year, some as The Bass Player, but most as a dep or pit work. These days I have my own original band, a singer/songwriter and I dep with wedding bands. I now work full-time as a teacher, I manage to fit it all in because my own band is still in the writing/rehearsing phase, the singer/songwriter does a lot of stuff himself and we only gig (currently) a few times a year, and the weddings are deps or charted, so I just turn up and play.

That's a small bu high quality collection! the B:Assmaster is a beast! And the Deep Impact and Cali76 are highly recommended.

The Free The Tone Black Vehicle bass drive is probably the closest I've got to the sound of an overdriven tube amp. A great and oddly heavy drive, but not in everyone's budget!

yeah, that is much easier, though I still do quite a bit of freelance so still have to do a tax return.

I feel like we talk about going the other way a lot, so I'd like to hear other people's stories about transitioning from full time freelancer to employee. How did you do it? Was it difficult? If so, how did you manage the change? So this time 4 years ago I was a freelance bass player and teacher/community musician. Then, a few months later I started my teacher training, and now I work almost full time in a couple of schools, plus a little bit of freelance teaching and gigs. In many ways it's been an easy and successful transition. My income is stable for the first time, I can pick and choose the gigs I do, I can focus more on my own music, and I can realistically plan for the future (house, family, pension etc). But I'm still finding the transition difficult. It takes a lot of effort and conversation with my girlfriend to say no to a gig (she is very supportive of my gigging), and I still feel a bit guilty about it. I'm also about to give up my last bit of freelance teaching as I've been offered full time after the summer, and I feel like I'm losing something... or giving something up... it's hard to put into words. I worry about not being offered gigs (I have every Saturday up until October), or that I'll be forgotten in my local music scene (I still see those people every now and again). To be clear, I have no regrets about my choices. But the change is hard.

I bought the Micro Synth off here after years of um-ing and ah-ing. Decided to get one pedal to do the synth thing rather than 3 or 4, especially for the soul band I play where I only use it for 1 or 2 songs, and the octave is nice to have for the extra girth every now and again.

OG 3Leaf Octabvre for the win! Is that a standard size board or did you build your own? I'm getting a Noble later this year and it seems to make planning a board really awkward.

Nailed that tone

Thanks! 😃

We spent the last year and a half recording, mixing etc., and we decided to put it out today. Its on Bandcamp and YT, but won't be on streaming for another week (they don't tell you that at the start!). Thanks for watching!

My friend just spent £100 on a 6 string set of flats!

I've just re-remembered the Walrus Audio Kangra, which is a filter/fuzz all in one. The demos sound pretty good.

Built-in fx loop is just the ticket! Put the Diabolik through it and it's exactly what I was looking for.

I have a Chromatron so I'll try that. There's just something magic about the Moog though...

Dammit! The B:Assmaster is annoyingly huge.

I like putting a fuzz into an envelope filter. It sounds synthy and cool. but I've noticed that not all fuzzes behave in the same way, even with the same filter. My B:Assmaster is the best, triggering the filter in just the right way to get that distinct vowel sound. But any other of my fuzzes and it just doesn't quite work. Even my Diabolik, which is just a paired down version of the B:Assmaster, doesn't hit the filter in the same way. If I turn up the volume on my Jupiter it kind of works, but then its impossibly loud. Anyone able to give some insight?