cheddatom

you can get some big chunky rubber door stops though I think if you're going to put anything under the back, you'd have to put a strip of rubber under the front to stop it slipping. In fact, if you did that, you could use pretty much anything to go under the back. I always thought it'd be nice to have a wedge shaped board, with a wedge shaped lid which would fold underneath to create the riser.

yeh i'll stick some clips up soon

My guitarist has the same board, but never bought rack effects, so he just uses that section to cram in his wah, volume pedal, and cables. Shep - would rubber doorstops be no good?

to do something like this properly, surely it would take some sort of processor with a loop for your effects, so that it can read the input of your bass signal clean, and try to replicate that after the effects are applied - why you would ever want to do this I haven't a clue, as if you want the original sound of your bass, putting it through a load of pedals isn't a great idea.

It just seems a bit nuts to imply this can return the sound of your bass, after its gone through a load of processing. It might make the signal look more like [i]a pick-up[/i] but which one? And does it help?

I've played a good few gigs, and there are not many venues where the monitors could give me what I wanted on stage in terms of bass. This is all originals venues with tiny crowds, so I suppose it all depends on what type of venue you're playing. I'd have nothing against gigging with no rig, but only if I was 100% the monitors could give me what I need.

I've been recording through my board for my old band. I've never had tones this good, and will no doubt post some samples at some point. Anyway, I split the signal to record a totally dry track, and one track through my board. The board is then split in 2. I use the dry track to provide all the very bottom end and the board for everything else. I'm not that into "electronica" but was playing last night, using my left hand to play simple bass lines, and using tapping and effects with my right hand to try and do some melodies - it was ace! I'd love to have a go at Shep's sort of line-up. Anyway, yeh, parallel processing is a must for most good bass tones - not just electronic.

What's it actually do? Just adjust impedence?

those sort of "soundscapes" is mostly what i'm using mine for. If you put it in a feedback loop, some of the harmonies it makes are amazing. Mine's an XP-100 but I bet the WH4 is just as good

I think the tone from the whammy octave up is a bit thin. I wouldn't use it to try and fill out the sound a-la unibass unless you have a very good distortion pedal to put in the LS-2 loop. I use the octave up for making noises and stuff. Sometimes i'll use the pedal to slide up an octave and back down, but I prefer the sound of an actual slide. The octave down on it's pretty good too. I've never really played with the harmonies much, i'd prefer to just play the chords.

"noise suppressor" describes the effect of a bit of kit. It might be a gate, but it might also be some sort of automatic EQ or filtering dealy. In the case of the NS-2 I think it's basically a gate.

[quote name='GeeCee' post='1269889' date='Jun 15 2011, 11:54 AM']No, I think Ken is right, at least speaking as a private individual in the US, not sure about businesses. PayPal does charge a different amount (e.g., 3.9% for payments under $3K vs. 1.9-2.9%) when handling "crossborder" payments and if I use my credit card to make a foreign, i.e., non-US, purchase there is a fee associated with that purchase related to the currency conversion. Credit card companies have started including that on the printed statement.[/quote] In that case it sounds like you're saying the buyer pays the extra handling fee? Like I say, there may well be charges, but they don't significantly impact our margin. Say we have a peice of paper that costs us 20p. We might sell it for £1 retail. If someone buys that for £1 from France, we charge them the appropriate amount for airmail (so no profit or loss there) and make our standard 80p. If there's a 3% charge for processing the French card - who cares? I mean, if your margins are so tight that they're being affected by such small charges, you need to increase your margins. Perhaps i'm being thick

We take foreign payments all the time, by paypal, credit card, or bank transfer. If there are any extra charges for processing foreign payments i've never heard of them. Our margins on small items mean that we always make a profit. Quite often this involves shipping something that weighs only a few grams and only worth a couple of quid. I'm not doubting Ken's business acumen, but something is very wrong there.

Does the band have two guitarists? If so do you really want a high gain distortion? You might be better having the pedals set with less distortion, which should generaly give you more attack to cut through... in which case you wouldn't need a gate Personally, I have some high gain sounds that I use my gate for It might be that with your mute switch you could just hit that at the end of every song to cut out the hiss? It would be true to say that having a fuzz before an envelope follower restricts the amount of dynamic range affecting the follower. It still sounds good sometimes though. I think You have to try all the combinations to figure out what works for you. Some people like wah before distortion, others like it after, others like the option of both.

I think you need new strings for this sort of sound too.

I always prefer working a tighter box myself.

going straight into the input should be fine. You might find you prefer the sound of them in the effects loop, but I doubt it. Why are you thinking of getting a gate? Are you using the BDDI as a DI? If so obviously it needs to be last in the chain. Personally i'd have the DD3 after the TU2 as then you get the repeats fading out after you've muted. Other than that, depending on what you're using the synth wah for, it might be better in between the dirt pedals. I'd have the big muff first, then wah, then OD (but you might prefer it the other way around).

[quote name='charic' post='1268096' date='Jun 13 2011, 11:43 PM']Sounds like you want a decent compressor[/quote] I agree, although a distortion pedal set pretty sutbly might do it.

Sorry to butt in on this one, most entertaining [quote name='tournesol74' post='1267588' date='Jun 13 2011, 05:36 PM']Whaoouuuu ! so many people here ! Sorry I was moving for 3 days... The only thing I can say Mister Ken is that I don't feel to pay 100$ for the shipping of a pot, even if I am in France, and I wanted to know what the basschater were thinking about it. that's all[/quote] Did he say "I can post it for less than half this cost"? If so, why did you not accept that?

I'd say no-one [i]needs[/i] a compressor, but most bassists could do with a limiter. Personally, I like to blend clean, with squishy, with overdrive, and put the lot through a limiter.

[quote name='BottomEndian' post='1259526' date='Jun 7 2011, 11:52 AM']Although still almost double the price of the Behringer. Depends on whether Si feels he can stoop to Behringer pedals. [/quote] heh I like the behringer pedals! It's just I wouldn't want to stamp on one (and I do like stamping).