stewblack

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?

Initially this is what I meant, but actually the responses widening the topic to amp modelling in general are instructive and fascinating, so I'm happy!

Hello bass hive mind. What is your preferred way of using amp modelling? Pedals I mean.

+1. I picked up a Revelation for not a lot of money at all a d gigged it that night after noodling in the soundcheck. Seriously good instrument, not much money.

Was going to do a review once I gig it but at present I am still playing with all the permutations. It is well made and incredibly versatile. Everyone should have one if not two.

To any newcomers wondering what the hell we're all banging on about, a company who made bass amps used to write on a label how many Watts the amp was rated at. Musicians used this as a guide as to how loud their bass would sound through different amps, the assumption being that more watts meant louder bass. This particular company confused people by writing a lower number than others would. For example where most manufacturers would write 250w this company wrote 130w. Musicians were therefore astonished to be told that the bass amp they'd been listening to at a gig was 'only' 130 Watts. But but it was sooo loud they would splutter. Now, decades later, with the facility the Internet offers for endless debate we are all choosing sides and arguing about this fairly straightforward, and historic state of affairs. Hope this helps.

No experience of that specific model but the Bass Centre instrument I do own is extraordinary. A thousand pounds bass in five hundred pounds clothing.

I loved this when it came out. Saw it about 6 times. Which wasn't as easy then as it would be now! Especially not in Midsomer Norton

🤦🏼‍♂️

as a photographer I too hate being 'that' side of the lens and come into contact with many people of a similar disposition. The best advice I ever got was to go for it. I'd you hate being photographed or filmed you'll never look good in the picture. You'll be stiff and awkward, take one look and reinforce the whole situation with more negative thoughts. So go for it, don't be natural, don't just be yourself, demand the attention of the camera, its a gift to photographers and videographers when people offer something and they'll get better results and you will like those results thus breaking the cycle If it's a fly on the wall thing then play with your eyes closed lose yourself in the music, or only make eye contact with your best mate in the band. Another thing which works really well with the camera shy is try to look really serious even grumpy. Again it's an act as has been said above if you're acting you're not being you, you are a persona.

Staggered to find when I looked back it was 2011 - seems like only yesterday. the club we played was called Heavenly - i think - that may have been the folk who organised the event. It was Glasgow popfest can't recall the street.

Woah, press pause, wait until you're well again. Don't make any decisions while you're clearly having the carp kicked out of you by a very nasty virus. I've had something similar recently and it drags you down both physically and spiritually, affecting hearing, speaking, thinking, mood and reactions. Get well, be kind to yourself.

OK, maybe they had a reason to get grumpy

I played an underground gig on Glasgow way back when. What was the venue? Wonder if it was the same one