stewblack

Time for an update. There is a tendency to exaggerate when receiving new gear. It's either the best thing ever or a crushing disappointment. Expectations and excitement play a part. With this in mind I thought I'd let the froth settle and ask myself some searching questions now I've had this bass for a couple of weeks.

Yes they do, tis pic was from their site. Love the colour combo

It really does, thank you. The look is great, reasonably priced, P Bass sound is what I like, but that Jazz neck is a stumbling block. I'll keep an eye out for second hand as that narrow spacing combined with my fat sausage fingers can be a problem. Thanks again

Missed this post, I'll have a play today.

Plus one for this. I bought one recently best Trace head I've ever owned. Two others went up for sale not long after it arrived.

Are these any good?

I shall be an avid follower.

Absolutely, me too. Keep the filth for elsewhere.

Anyone using one? I have a problem but I'm pretty gone on my medication right now so could be me! When using with all 3 channels on, you enter the master bypass with a double tap on any button. Then any button, single tap and all 3 come back on. This allows simultaneous on off of all 3 loops - handy if like me you run 3 distortions in parallel. Saves a lot of tap dancing! However, when I give it the old double tap, I get an almighty humming noise. Doesn't happen if all three are switched off individually only by the double stomp. Any ideas?

As I have way too much time on my hands I had a little switcheroo in my tri-amp rig. The Trace is now through the Ashdown on midrange duties, the Bugera handling the lows. Perfect system. The more modern amp delivers a tight, rounded bottom (settle down at the back please) and the Trace a beautiful gutsy midrift. But the real joy is the effect loop on the TE. Not only do you have a variable send level and an optional hpf on it but at the front of the amp is a blend level. I can dial in as much or as little effect as I want giving me a mix of dirty and clean mids with my lovely round smooth bottom clean and untouched by either.

Worst instance ever was starting A Message To You Rudy. Or rather not starting it. Specials trib, early soundcheck, long afternoon drinking. Stepped to the front of the stage, made 'em wait for a bit then thought to myself - I have no idea what this song even sounds like. Mortifying. Nowadays it still happens occasionally but two significant factors have changed. One I'm sober. Two I realise I'm a musician not a heart surgeon. Nobody dies if I fluff my lines. So I just ask the rest of the band to hum or play it to me. We were doing a Bruno Mars song which I had successfully busked with chord sheets until this particular gig. The guitarist told me I should start it.Byt there's no bass on the intro I argued. BL agreed with him and sure enough when we reached the song I had no idea. Couldn't bring it to mind. After a few fumbled attempts guitar wandered over and asked - Do you actually know this song? I was bang to rights. Had to admit that no I didn't. Apart from when we gigged it I never heard of it.

To be honest I knew it was a long shot and it's no worse than it was before.

Oh to be given the chance to be so choosy

Actually I have realised something rather crucial. I wouldn't be still playing without Basschat. I learned about lightweight gear here. Barefaced cabs, crucial to my continued musical career. Quite simply I would have given up humping that bloody great 8x10 everywhere.

I've followed with interest a couple of threads where a basic instrument has been transformed into a thing of beauty and wonder. But I honestly don't know if it is worth what that must surely cost. It's not all that special after all. But in the hands of a master (and there are some here) maybe it could be.