stewblack

Ha ha, yeah , that's a lottery win pedal board.

Although if we're talking about quality pedal boardage, then Schmidt takes some beating. https://www.schmidtarray.com/custom

I have two of them now, bought the smaller one for my smaller pedal needs, they are remarkably good vfm but the Waggi boards look like they're the nuts.

https://vintagenewsdaily.com/dan-hartmans-bass-guitar-suit-1974/

I'll kick off with the Zero Point Flanger from Catalinbread. Loved the blurb on the thinking behind it. Apparently designed to mimic the way a flanged sound was achieved by running the signal through two tape decks and slowing one by pressing on the tape with a finger! Controlled by two foot switches, one on/off the other simulating the finger on the tape, it produces an amazing sound. I particularly like being able to control the 'flange' on the fly. Can't afford it, don't need it. But boy oh boy I like the look of it.

What are you scouring reviews for? What is it you don't need but know that you really want? Why is it suddenly so important? Tell us all about it, and if you resist, come back and describe how the GAS evaporated.

What a great article. Proper bassist geek out. Thank you for sharing.

Yes, but this is why we love pedals. The idiosyncrasies are part of the charm. You build a board with things like this and you will have your sound, no one else's.

Seems I beat a few Basschatters to this so first of all, I'm sorry. But on the other hand if I don't like it I know I shouldn't have a problem moving it on. Oh, but I do like it, so, erm, sorry again. I am lying dying of Covid 19 so buying pedals on Basschat is my only joy right now. Also I can't work so can't afford to buy pedals, but, well, what you gonna do? Anyway, it's amazing. I see what all the fuss is about. I must confess the thing that attracted me initially was the effects loop. Don't ask me why, but I'm a sucker for them. I managed to use it for ten minutes before having to lie back down. But what a ten minutes. I set it to a down filter and it is the most gurgling, liquid, squishy, blurping filter I've ever heard. I glooped and wurbled happily for my ten minutes, so happily in fact that I didn't even try the effects loop.

Another great transaction, fast, smooth, excellent packaging, pedal as described, no complaints. Delighted to recommend @sshorepunkto the community.

Been dying of covid so not capable of doing much but had a run through a few Deep Poiple numbers today. Great fun. Strange Kind Of Woman, Black Night, that kind of thing

Just taken delivery of a pedal from @skej21 which was an entirely painless transaction. Great communication throughout, happy to recommend him to the community.

The room seems the biggest factor in my experience. There is one venue in particular where, if I get a good sound everyone more than 20 feet from the stage complains the bass is too loud too boomy. If I bring different gear, or raise the cabs up, or isolate them, it sounds like a wet lettuce. I have always achieved a great sound with whatever gear I fail with there.

So glad you went for it. They are not 'cheap' basses, they are relatively inexpensive basses. Relative to the competition that is. I never hesitate to gig with a Harley and I've always loved playing with them.

It's the arrangements we've painstakingly worked out over a long time, the subtle interactions between bass and drums and bass and keys, the dynamic shifts and the unusual covers we've chosen. I've nothing against depping, I'm regularly depped in my other bands and I dep in plenty of other bands. But these people insist on paid rehearsal, spending hours going over songs, and yet the bass can be replaced by someone who isn't even a bassist and at a couple of days notice. If you don't see that as them not recognising and respecting the work I've put in then we differ. Of course as I have said, they are right and I am wrong, because the audience doesn't care either

Funnily enough I have the problem of trying not to be always leaving bands. In the past I always ended up talking myself into walking out. I've come to recognise it as a character defect, an instinct for self sabotage which blighted my life. However if people in a band were genuinely behaving outrageously towards me I'd not hang around.

My point was they have zero appreciation of how important the bass player is in the context of the band. This means zero respect for the work I put in. How the gig went is neither here nor there because the audience doesn't give a s4it either. They wouldn't dep any if the other 3. It's not just a standard covers band, you can't learn what I do in a couple of days.

Nice one!

Looks like a fine instrument. I played a G&L at the SW BassBash, and it was instantly lovely. I had been a little put off by the headstock until I saw one in person rather than just photographed. It looks absolutely fine in real life. There's a G&L in Anderton's right now fir 250 which is seriously tempting.

Never 'shimmed' before, I'm not really very handy beyond setting intonation. But the other day I shoved a bit of something flat under the neck of a bass I had put together. I musta gotten lucky because it went from unplayable to perfect. So count me in the shimmer camp if this ever goes to war.

Hi, I have the Bumblebee, and while some pedals do fit beneath the upper level, it's actually just too low for a standard Boss sized pedal. This is the only drawback in an otherwise excellent design

Yep.

Joyo have slipped a bass amp and an effect past me. I must be getting old. The American/British/Californian Sound pedals have been joined by the Oxford Sound. It's orange. Allegedly sounds like Orange amps. Anyone got one? Are all the pedals actually all the same beyond the paint job? Does anyone care?

Ah ha! The plot thins.