stewblack

Not sure the technical name but it's kind of sonic red

What can I say? I have a weakness for red basses. And black basses Quite like sunburst too. And blue. Salmon pink. Gold is a favourite too

I won't be spending a fortune as there's no guarantee the band will go for it. But a decent couple of pedals I could use anyway or move on here will be OK

Yep, I'm after not getting a guitarist. I dream of a band without a bloody guitarist

Wonderful OP. Well done. Some bands I'm in will happily take on any request whether we have a clue or not, we are also quite content to let people sing with us, play drums, or guitar if they fancy it. Others prefer the "we're not a farkin jukebox" approach to public relations. My go to response is "ask the singer, I just play what I'm told" Of course none of this matters if the punter is sufficiently refreshed.

What colour do you prefer with a red p bass? If not white...

That's an interesting idea too, thank you

Thanks folks. I have produced a very passable imitation of what I'm after with the humble Zoom B10n and American Sounds pedals so I suspect that a couple of decent upgrades on those will get me what I want.

Hello bass hive mind, hope the synapses are firing. I would like to produce a couple of notes simultaneously with my bass note. Specifically an octave up and a fifth above that. I've spent a few days with Google and YouTube and understand the mechanics involved What I could use now is real world bass experience. Some cheaper harmoniser pedals seem to produce OK results but with a little latency - could that be a good thing if simulating a rhythm guitar? Providing a small separation from the bass might encourage the illusion of separate instruments. Or would it just make it a nightmare to play and sound horrible? Is it best to go up an octave and then harmonise or use an all in one like the Bass Whammy? Or is there something better? I can't afford the Hog2 by the way. If I could I'd already have it! The Boss harmoniser appears a little fussy for live use, unless it has a more simple functionality I've overlooked. What about vocal harmonisers? Any good for instruments? TC Quintessence looks like a good price, but how good do the notes sound clean? Mild distortion would work but this isn't for punk or metal. If I can pull this off we won't be hiring a rhythm guitarist who we'd then need to pay. More importantly we have a wonderful balance of personalities in the band which is, in my experience, of absolutely paramount importance. Add a stranger to the mix and we risk derailing the entire project. I won't be using this extra musical padding throughout the set, just on certain more stomping tunes and as support during some solos. The band are sceptical, having no experience of this approach. Personally I don't think we need anything additional to the bass, keys drums we have. But they lack my confidence. Hopefully they will be pleasantly surprised.

Following this with interest and excitement.

👍🏻

Absolutely it does, thank you.

Sorry I realise I was unnecessarily vague! Anything over 3".

Don't want to hijack but anyone recommend a non leather super wide?

This is another reason for going parallel. My octave pedal produces exactly the sound I want but benefits from a small eq tweak and volume boost so I run it in series with a bass graphic eq. Placed in a loop they both get turned on with one switch

Yep and there's the rub. How do you compare two such different systems? The series set up will alter dependant on pedal order, the parallel on mix levels

OK, obviously it's bass so you don't need to be reminded quality headphones or big speakers required! As ever the subtlety is in the deep end. This is literally straightforward side by side. Three pedals OD, American sound and auto wah first parallel then no changes at all just same but in series. I still feel we're in apples and oranges territory because I would change the settings if I was running this set up in series to blend more clean sound. Also the wah was a little quiet in the parallel set up I realise after recording it. However the differences are clear. The distortion is obviously affecting the wah or vice versa. Thing to remember you may say hey but I like these pedals together in seies, well that's cool have two three or four in series but have them in their own parallel loop! My conclusion? Neither is definitively better, subjective innit?! But the parallel is more 'grown up'

I shall gladly do as you ask but side by side comparison is going to be a challenge because the endless variety of the parallel set up is its strength. Flexibility rather than a specific different sound. But a simple three pedals in parallel and then the same three in series I can do

Playing with my TPM this evening, using just two send and returns. Blending a synth sound I've built on the B3 with a warm fuzzy old school distortion - blending both, of course, with the clean signal. No need to mess with wet/dry mix on the Zoom just max out the wet signals, everything gets mixed on the TPM. So different from having the effects in series. I ended up with three different sounds. One synthy, one clean and one overdriven. I could alter their characteristics by increasing or decreasing the send volume, and the overall tone of each too. Then I got to decide how much of each to have in the mix with individual return volumes, and a dedicated volume for my clean signal. Oh, and a master volume to offset against all the other parameters. (Take down clean signal increase master = increasing all the loops equally compared to the clean sound). This all allowed me phenomenal control over the final sound. I could wind the drive around to crazy levels but reduce its volume so it produced a kind of audio penumbra around the clean sound. Or have it just breaking up and running alongside the clean. This lends definition to the distorted notes and allows me to set tone controls where they produced the most pleasing overdrive sound without worrying about losing bottom, or mid or top or whatever as those are all still present in the clean sound. Or have a toppy clean sound running together with a muddy distortion. Or a rich rounded clean bottom end with an aggressive snarling upper mid range distortion. And on and on. Oh and all this before blending in the synth which is effectively three pedals in series, with their overall sound in parallel with the two other sounds described above. The envelope and glitchy synth having precisely zero effect on my distortion which remains exactly as I like it. This pedal also allows me to Royal Blood the whole thing by sending my signal to two different amps. But that's for the future I still have another loop to fill!

put the theory into practice tonight at the rehearsal room. Used the in house amp and cab, American Sound pedal into return. Wow. Just a cheap knock off pedal but seriously, wow.

So glad I asked my initial question so ambiguously! I've inadvertently opened a tasty can of tech-worms. This is great stuff. For the record I am by inclination a P-Bass straight into the amp and turn it up kind of guy. However I also can't help investigating different set ups and creative possibilities It's fun, it's inventive, and endlessly fascinating to me. So for anyone who reads this and thinks, what a load of unnecessary bo||ocks just plug and play - I know I agree, but, technology has gifted us these creative possibilities so why not use them?

Another RCF fan here.

So if you plug your pedal into the return, you bypass the preamp? Is that how this works?