LukeFRC

I guess I’m influenced by having spent the last 3 evenings trying to get somewhere near unity gain on my B3n and work out how the bloomin compressors are coming on... edit: I actually agree with you that 15 year old me would probably enjoy the zoom multi effects more and create all sorts of crazy fun sounds. I guess maybe now I’m old and boring and played more that I think there’s a some things that are good to do to get a good bass sound that fits in the mix well... and that the pure power of digital interfaces often make it hard to learn some of that. I’ve seen the same with newbies on digital desks vs analogue - where before all the eq choices for the mix were visible in one (long) glance now there’s often a different screen for each channel... the ability to do something a bit odd in one place and then spend ages changing everything else to try and fix it without seeing the original thing is a bit odd (eg “my bass sounds right odd in my IEM” “sounds alright to me”... I have a look at my eq settings “er I’m at +6db from 20-70hz and then -18hz from 100- 300hz “ (PA been equalised to room already) )

The glockenklang two band was the most unsuitable one I tried. Wouldn’t hesitate using it in a fender style bass but the eq points were far too low and high on a streamer to be that usable IME. YMMV

or even one without the volume bit. I actually think I've got one sat in a drawer somewhere

1987 I think would be a MEC preamp? (Right @warwickhunt) black little box with white epoxy filling on one side? Beyond that the Warwick pres make up a reasonable bit of the Warwick tone, for better or worse- so be careful with what you replace it with, I tried a load of preamps in my 1991 streamer and generally a good preamp designed for a fender bass wouldn’t be so good on the streamer. For example the obp1 that’s been recommended above is a really great preamp - but ime the bass point at 40hz will be too low for the streamer and through a PA just add rumble and it’s the 80-100hz that’s better to boost. The good news is that if you are able to grab a quick recording of the bass you can put it through a multiband eq and play around to get a rough idea of what different EQs will sound like. I just used GarageBand! I ended up with an ACG preamp which I a different kettle of fish Whatever you’re after though, the best solution is probably made by John East...

I need a big cab right?

Bizarrely for a newbie I think this sort of thing would be better. For someone who knows the basics then I agree with you, but first bass and a ME60b gives a whole range of ways to mess your tone and gain staging up without knowing why or how

Mmmm you can tell none of us have heard it! Question is is it an analogue effect or digital DSP powered one? This could be a studio quality high end sound platform that becomes an industry standard ... or not

I was looking at that last night - know if it sounds any good? Firstly... so you've got a gig set up.... and a full board.... and the full board includes a HX stomp.... but you're not using the stomp in the gig set up yet... but when you do presumably theres a lot of pedals...! (I'm more tempted by the HX stomp than the fender preamp here ) secondly just realised I quoted you twice in one post!

I wonder if we will see the way we process signal change over time? If we need a preamp of some kind to feed either FRFR speaker, PA, IEM mix or even a more traditional bass rig it seems you’re either going to go for something analogue like this, or something DSP based like a Helix, or even the processing on a digital mixer. I find it interesting that as he’s expanded it Bergantino,s B|Amp is essentially a DSP processor in front of an amp. For my needs 90% of every gig I’ve ever played could have been done with a helix or similar feeding FOH and my amp/IEM as needed ... so it makes sense, for a lot of them amp, and cab emulation would be good. But one of the blockers for me is having to engage with some complex UI with far too many options and things going on.

it looks like they have added a few of the BAmp features to the Forte and upped the wattage. Looks good.

I’ve found the same default position too. Active/passive with the passive roll off is good as it gets into that passive fender type sound - and has the Sadowsky sound too. The will lee switch on mine gives a third flavour. i think the way warwickhunt said it to me when I picked the bass up is true, it’s capable of lots of different sounds, and it’s really hard to make it sound bad

How would you describe their sound?

To reiterate what @mcnach was saying - the stingray sound requires a mm pickup in the exact place that Leo put it. Put it there and it sounds like a stingray. If you compare with a Lakland or Sandberg who use the J/MM setup quite a lot their bridge pickup sounds like a fatter jazz sound rather than a stingray sound.

This link may work https://m.facebook.com/profile.php?id=100008256334887&ref=content_filter

He’s not on basschat - I contacted him on Facebook

Think they could have made the logo bigger on the pickup?

All you need now is a black marker pen...

He/she must have seen this thread

Stollen has more heft

The holes would annoy me I think! Its a different beast to the warwicks I’ve had. Like you know in the video you’ve posted you can hear every note? Like take away the fact he’s a way better player than i will ever be and eq, amps etc - each note is present with a punch and a tone. On a lot of other basses I’ve owned the note is there but with less defined punch, I’ve got the house to myself so I just cranked her up to have a bit of practice and some of the little fills I would play on other basses just don’t seem to work as they sound more musical and stand out as guff ...

Wasn’t Leo Fender an amp man at heart?

It’s good. Go back 3-4 years and I had three through necks - they were great but picking up the G&L made me realise that I enjoyed a bolt on fender-type as much as anything else. Tone wise it’s obviously been designed to have a certain sound, there is a punch to the notes and musicality that seems designed to sit a certain place in the mix. Even in passive The bridge pup sounds a bit more full than you might expect, and the neck pup is usable, rather than a nasal tone. The nicest thing is that the ‘mid drop out’ with both pups up full isn’t too extreme and that’s where I like it. It’s seems both more trebly, more bass focused and with a punching midtone - all at the same time. With the current strings on, it doesn’t have the hollow warmth of the L1000 (think P bass) and in passive mode seems more synthesised and tailored to sound a certain way. Switch the preamp on, boost the bass just a tiny bit, and the bottom end fills out just enough for a typical P bass player like me. Thats playing gently/normal - dig in hard and the tone gets a certain aggressive grind to it that makes you smile. The Will Lee mids switch I need to try out more in different contexts to have a strong opinion on. Simple to use. I did the trade for it with the thought in the back of my mind that if I didn’t like it it would be easier to move on than a vintage Warwick. To my ears it will just ‘work’ in a mix, it’s super playable, not too heavy and Is more than enough bass for me.

Hmmmm calling the genius that is “the Bass Doc” (a Sadowsky pickguard imported would cost over £100!) and a wall of basses. The Sadowsky fell off the other day, mostly due to my bad diy skills and stupidity... but while the screws are good the rawl plugs that come with Hercules hangers aren’t ... anyway scraped the back but was the catalyst for me getting the tort...

Charcoal frost metallic btw. There was just one thing I didn’t like... this better?

So a while back I did a trade with the lovely @warwickhunt which led to me driving back down the A1 with this lovely Sadowsky metro. I wanted to try one out, had a bit of a jazz bass craving and he about the only person in the uk interested in my super early thumb bass so it made sense. omg effortless to play - And sounds amazing.