cheddatom

Well perhaps it's fortunes are changing - where are all the naysayers?!

let us know how you get on!

No wonder all the pros are so grumpy! [/troll]

I don't see the problem using the guitar rig? It sounds like OP is confident with the amp modeller. One solution not yet suggested is a powered cab, or just a simple power amp hooked up to a nice bass cab. As long as you get the EQ right on the zoom you'll be sorted!

[quote name='toneknob' timestamp='1423052138' post='2679967'] ...VJ's opinion is interesting in its generally contrary position. Regardless of his CV, it's nice to say "oh do tell more/what makes you say that" rather than "nonsense". [/quote] Yes, that would have been more pleasant

[quote name='JTUK' timestamp='1423052067' post='2679966'] I wouldn't use that term, but that is why a lot of people use it or have to use it. So, yes, you could apply it to people who don't have dynamic control over their playing.. There might be other reasons, but there might not.. [/quote] There's a difference between saying "it can be used as a crutch" and saying "it's always used as a crutch"

[quote name='JTUK' timestamp='1423050991' post='2679951'] If you have very good dynamic control over your playing, which I think should be a goal, and something you incorporate in your practice regime, then compression at your monitoring source may not be required. ... [/quote] I can't argue with any of that, it's a personal thing and I respect your opinion. However, if you were to extend that to say that any use of compression live is a "crutch" or compensation for lack of dynamic control, then I would have to disagree, and I might do so vehemently, as it implies a slight against my prowess as a player

[quote name='discreet' timestamp='1423047277' post='2679898'] ...Again a fair comment, but that knowledge would be of limited use given that most bass sounds aren't what you think they are and largely sound like they do only in the context of a particular song or combination of other instruments... which is why isolated bass tracks often sound weird, but are just what is needed in the full song. They are not produced to be heard in isolation... [/quote] I'm interested in the context of the mix and studio work. I'm not thinking that I'll be able to replicate a recorded sound live or anything like that. As a producer/engineer who spends a lot of time in the studio, I find these things interesting. This thread asks what I'd want to learn from Pros, and explanations of their sounds would be interesting. [quote name='JTUK' timestamp='1423048474' post='2679913'] ...The PRO did just that..he had an opinion that was shouted down immediately, and when he came back and said it wasn't actually his set of rules, it was the way the industry worked, he was hounded again... [/quote] I've read the thread in question, and I disagree.To argue that the use of compression when playing live is always a crutch for bad playing technique is definitely wrong. I can think of several situations where compression would be used as a sound shaping tool, and not as a crutch. Furthermore it is not an industry wide rule for professional players to not use compression when playing live, as clearly some of them do. There's nothing wrong with a difference of opinions. Obviously sometimes on the forum, people state their opinion as though it's a fact, and this does rankle, causing the sort of personal/insulting posts we saw on that thread

[quote name='discreet' timestamp='1423046432' post='2679882'] Pro bass players don't get gigs. Management and promoters sort all that out. [/quote] Right, but how did that come about? How did they get their management, and how did the ensure their gigs are of such a good standard, etc [quote name='discreet' timestamp='1423046432' post='2679882'] I believe there are any amount of pro bass players up on YouTube who go into great detail about their pedalboards. [/quote] Sorry, maybe I don't spend enough time on youtube, but most pro bassists are going to have a few pedals, and some fairly "standard" sounds. I assume we're talking about session guys, rather than guys who are just known for one band [quote name='discreet' timestamp='1423046432' post='2679882'] That would be down to the producer and engineer... the bass player has little control over the sound in most cases. [/quote] Like I said, if they were in on the mix, I'd like to hear what was done

I enjoy all the BS and fun on this forum. In terms of stuff I've actually learned, most of it has been about the manipulation of sound. In particular 5imon's posts about compression and mixing have been very educational I like to share what I know about recording, mixing, and also effects. Although a lot of us on here have gigged all manner of crazy pedalboards, I don't know of many "pro" types who do the same, so I guess that's something they could learn about Stuff I think we could learn from Pros? Well, how to get the gigs for a start! Other than that, they could join in the discussion of technique or sound on the same level as the rest of us. I don't see any reason to respect a "pro" opinion any more than an amateur opinion, unless it's about how to get pro gigs EDIT: It'd certainly be fascinating to hear pro players' studio experiences, in particular how certain sounds were made (if they were in on the mix)

ahh, balls, yes you're right, as soon as you let go of the ABY switch, it'll turn the freeze back off. What if you put the freeze into latching mode? Does it stay on after one press of the switch? If so, in this mode, you would just have to tap the switch again when you want it to turn off

I've not used the freeze myself, is it not instant when you turn it on?

OK, so it looks like a standard momentary switch. If you were to get an ABY pedal, replace the Y footswitch with a momentary one, then connect the switch poles to the switch poles on the Freeze, or to the two solder points on the white cable, your ABY should then switch your freeze on and off, as well as switching the Y on and off at the same time. Then you just mix the two chains back together with an LS-2 I'd do this temporarily at first before making any holes in the pedals. You could get a momentary footswitch from maplins for £5 and an ABY off ebay for £15 or so

I did submit several links, and obviously only liked each page once, so I will be contributing to the inconsistency if you just look at the number of links vs the number of likes you've received.

ahh, OK, sounds a little more complicated that I thought it'd be. I'd need to see the inside of the freeze to figure it out. I once wired two pedals together so that pressing one footswitch would do both of them, which is really simple. If the Freeze has the option to be momentary or latching, then I guess it's a fancy complicated switch which might not be easy to wire like this

Most dirt pedals with a high gain setting through an amp with tweeters are going to sound fizzy aren't they The guy from Karnivool (forgot his name!) was using an ODB-3 for ages, and I don't think anyone can argue that his tone is lacking in any way

sorry, yes, you're right. Replace the footswitch in an ABY pedal with a momentary switch. Connect this switch to a new jack socket (as well as retaining the ABY connection) on the ABY pedal. Drill a hole in the side of your Freeze, put a jack socket in connected to the footswitch. Plug a patch cable between the two new jack sockets. Sorted! That sounds like a right PITA the Freeze is a momentary footswitch right? And I think the zoom has a footswitch input? I'd wire half a jack cable to the footswitch in your freeze, just tape it on, then plug the jack end into the zoom's socket, and see if you can make the freeze footswitch control the zoom.

[quote name='Jus Lukin' timestamp='1422876409' post='2677718'] Well, let's not remove it [i]just[/i] yet. I'm hoping that everyone who put their band up will actually like us back before too long!! ... [/quote] I've noticed loads of new likes, and just assumed most were from basschat!? Anyway, I've done my bit

If you had an ABY switch, you could have it set to Y, then play the note, then switch back to just A. Have the output of both chains blended back together using your LS-2. So, you don't use the input or sends from the LS-2, you just use it as a mixer.

I'd get an octave pedal and learn to transpose the parts up an octave, so when he goes to play a solo, you play an octave up but use the octaver to provide the bass Or you could go nuts with distortion, but you'll need something which gives a big boost in the upper mids without sucking all the low end. Tech 21 Bass XXL maybe? I guess the greenmile is a big muff, which are well regarded on bass, and will certainly thicken the sound, but in my opinion wouldn't do much to fill the gap that rhythm guitar is filling

The Boss ODB-3. Why does this pedal get so much stick? I've been jamming with a heavy band recently, and my set up has been my usual blended tube screamer type, and then a fuzz of my choice for extra dirt when needed. I noticed I'd got a spare power cable on my daisy chain so went to look at my (large) pedal collection to choose something else to play with. Previously I'd been messing with tremolo and phasers in this position, but I decided to try the Boss ODB-3 for fun. I set it to bass 3 o'clock, treble 12, blend 9, gain just slightly on. As soon as I kicked it on I remembered why I love this pedal. The low end is just ball tickling. I know the usual comment is that it sounds "fizzy", but I think these people are either using too much gain, not enough clean blend, or have a very, very trebly sound from their amp.

You should be able to put a bit of kick drum through your existing set-up without the need for a sub, IMO. I guess it depends how loud you want to go

[quote name='Cosmo Valdemar' timestamp='1422881827' post='2677801'] It wasn't an open poll to begin with - there was a set list of bass players to choose from... [/quote] So why include Jaco on a metal list?!? Weird!

Have you tried EQing the kick to give more thump and less thwack with your existing setup?

Cool, i'll let you know how we get on!