cheddatom

Well, you are using the words Grit and Full On Distortion - You wont get Grit by blending lots of clean with a little bit of full on distortion, for obvious reasons. You will get a cool tone though. Perhaps you could run a constant 50 or 60% blend with your full on distortion, and put a volume pedal before the distortion pedal so that you can control the gain. Do you not like the sound of the pedal at low gain? I think perhaps you might mean something different by the word Grit.

I seriously can get a pick sound with my fingers. I'll try and do some sound samples, but it'll be a while before I can.

[quote name='Finbar' post='261780' date='Aug 13 2008, 06:06 PM']Well I'm rejigging my pedalboard at the moment. I've always had my octave after my distortion just because I never really experimented with it, and it makes such a difference running the octave first o_O Synth-tastic. Anyway, quite a few little neat fixes and stuff (for me) going on, so I'm taking my time doing it all up, and I'm still missing a few pedals. Howeverrrr... I'm looking at getting a VFB-X or a modded VFB-jr (pedalboard space is at a premium, especially if I'm adding an expression pedal to control the blend) from Barge Concepts so I can use my Catalinbread Hyperpak for anything from full on distortion to a bit of grit. Anyone had any experience with doing that with the expression pedal? And are there any expression pedals I can set to have a minimum value so that the off/down position isn't fully dry signal? I'll probably shoot Barge Concepts themselves the same question. I have an ODB-3, but I don't really get along with it to be honest, even at some very low gain, mostly dry settings. If I can find a better solution, I will! When I've finished it, I'll take a photo. Its nothing to rival Tayste's new board, but I like it If anyone has any George L's jacks they're selling, I'd be happy to take them off your hands And another daisychain probably wouldn't go amiss![/quote] Are you thinking that you will have a little bit of dry and a lot of the hyperpak for full on distortion, and a lot of dry and a little hyperpak for low gain grit? I don't think this will work! You would be better off modding the dirt pedal so that you can control the gain with an exp pedal.

Heh, Kev, you never hold on to any gear! Most amusing. Having said that, I like the way you managed to sell your gear. When I was at uni I spent a lot of my overdraft on gear, and I could never bring myself to sell it.

Use a blending pedal! There are loads more than I first realised, but they seem to be quite difficult to find. If you search this forum section for blend, then you might find some info. I have a Barge Concepts blender thing, a DHA Bob the Blender, and a Boss LS-2. They're all good at their different applications, but I think you'd probably want the barge concepts one.

You should be as quick as possible else there'll be none left!

[quote name='joegarcia' post='259790' date='Aug 11 2008, 11:12 AM']Bought this the other week and love it to bits, listen to it loads.[/quote] HAHA! Nice one Joe, i'm glad you're enjoying it. Only another 6 weeks until we can gig again!

[quote name='Muse_Cubed' post='258622' date='Aug 8 2008, 11:57 PM']Despite my claims last year that my pedalboard was "pretty much perfect", I've been doing some tweaking. No pics yet (as I'm waiting for the last pedal to arrive) but it's pretty similar. Just horribly untidy but it was the only way I could fit everything on. The layout's better though, and pretty much all the pedals are pretty accessible. Bass -> Catalinbread Serrano Picoso (to negate output discrepancy between Warwick and Pedulla) -> EBS Multicomp -> Red Onion Triple Loop (w/Tuner Mute -> Korg DT-10) Looper Channel α: Digitech Whammy IV -> EMMA Discombobulator Looper Channel β: Boss LS-2 [Channel A] -> Akai Deep Impact -> DHA VT-2 Dual Bass Custom -> MXR Blowtorch -> Boss LS-2 [Channel B] -> Boss OC-3 -> EHX Big Muff Pi (Russian) -> Boss ODB-3 -> Wren & Cuff Pickle Pie B Looper Channel γ: Subdecay Noisebox -> MXR Phase 90 (w/Resistor and Tremolo Mod) -> Boss DD-6[/quote] Is your LS-2 blending the two loops or switching between?

That's a good idea. You could put some fuzz in the loop, have fuzz before envelope follower, and still have some dynamics for it to follow, which is pretty much impossible at the moment.

Try blending your xciter with your OD!

It might be that the aphex will work better with a more consistent signal, after the comp. It might be that the comp will enhance the bottom end of the aphex. You will have to try them and see what sounds best.

If you put a compressor before a dynamic follower (bass balls) then you are restricting the effect that your playing dynamics will have on the follower. If you put a compressor before a distortion pedal that reacts nicely to your playing dynamics - again the same issue. It depends on what you're using it for, but I would always have my compression towards the end of the chain for these reasons.

It's not worth it to you, but it you were a pro musician who really liked the tones available, or y'know..... I just don't think they should be criticised. Sure, everyone wants one, but everyone wants an aston martin - they price them accordingly. Maybe i'm wrong and there's no market for this kind of high price high quality pedal, in which case they should lower the price within a year.

[quote name='BassManKev' post='258071' date='Aug 8 2008, 01:39 PM']dude, it could be twice as good as the deep impact, and it still wouldnt be worth that price[/quote] Really? To me, 2 x as good = 2 x the price! Not that I have the money to be saying it, but if it was twice as good as the deep impact, it would be worth twice the value to me.

Yeh I agree with pablo so.... Bass Balls, Octave, Compressor, Xciter -> Amp I wouldn't bother with the effects loop.

A bass player is too good when he sits there playing nothing saying "It's all about what you DON'T play man".

Everyone seems to presume that it will only be equal, or slightly better than the deep impact. Do we actually know?

I think that the definition of perfection is interesting. A sphere can be called a perfect sphere if it has no flaws. Arguably, music, or any other art form for that matter, has no flaws. Even if you think you hear a mistake, it could have been intended. Music is either always perfect, or always flawed - but then (a lot of) you say that you need flaws in music, perfect music isn't as good! So flawed music is perfect? So they're not flaws? So there's nothing wrong with being perfect? In the OP Bilbo, you liken Perfect to Clinical, when that's obviously not representative of your opinion. It's deffinitely possible for a player to get so obsessed with technical prowess that he forgets to "feel" the music. I see this more with drummers and guitarists than bassists. However, I don't indulge in watching the more technical bassists mentioned here.

The public wants covers and tribute bands. That's one reason why it's so difficult for an originals band to get anywhere. If it's what the public wants, I don't see a problem spending their money on it. If your argument is that public money should be spent in the interest of furthering culture (or however a clever person would put it) then I totally agree, but I think it's for my own selfish reasons rather than any noble ideas about society progressing.

We used to practice twice a week as a rule, for at least an hour, more often 2 hours. In the run up to gigs, especially important ones, we would practice for 1 hour every day. I think it made us extremely tight.

[quote name='OldGit' post='257431' date='Aug 7 2008, 05:50 PM']"Got one" what BBC? [/quote] I would say "rogering" but it might be considered offensive.

[quote name='BassManKev' post='257400' date='Aug 7 2008, 05:18 PM']yeah, im quite a fan of reverb, and no i dont have time for one too much studying to do this year[/quote] Interesting. I think your reverb might disapear when playing in a band, which is why I asked. Are you using it to simulate a live room kind of sound, or is it a big long reverb, like an effect rather than a tone.