BadHands

How much is the interface which will handle updates too?

I didn't realise the FI needed a separate interface for creating presets.

This is the 4 I'm leaning towards as well. The ubiquitous ones we've all had at least a couple of at some point.

I got you, boo. For the record, most of my friends who don't consider themselves "Pedal players" prefer 3 or 4 pedals which have great reputations as it's easy to pick one up, learn it's features, then sloooowly get more. With a multi FX unit it can be easy to get overwhelmed by your options.

I've asked this question elsewhere to little effect (pun, WELL intended), but what do you think the Top 4 bass pedals are of all time? By this, I mean culturally. Guitar has the tubescreamer, the fuzzface, crybaby wah etc but which effects (as in specific models) do you think would make it to ours? The only one I can think of for sure is the Boss OC2. Thoughts?

Thanks for the speedy reply

Compressors are a divise subject on here, but if you enjoy the sound, it could be good to start playing around with a pedal. Making sure you learn the standard parameters of compressors and what they actually do, helps a lot as different pedal models might call them different things. Being able to look at a knob called "compression", and you knowing that's the threshold (or input gain), makes all the difference to how you use it. But if you look into it and it seems boring, I'd just stick with the on-board comp if you already like it - If it ain't broke! As far as where you put it, that depends on the kind of compressor it is. Robert Keeley differentiates between compressor limiters and compressor sustainers. Sustainers increase the sustain of a sound by gradually increasing the volume of a note as it sustains, creating the illusion of longer sustain (Or bringing the floor of the sound up, as I like to imagine it). Compressor limiters are more about the ceiling of the sound, and what happens with the signal when it reaches a certain threshold, compressing it to various degrees, or all out limiting (cutting the sound off). So Mr Keeley says that compressor limiters can go anywhere in a signal chain as it only cares about what happens to the signal ABOVE a certain threshold, whereas sustainers should go near the beginning because they're bringing quieter sounds (Including noise) up. So if it has a sustain knob that you want to use, stick it at/near the beggining, but if it doesnt, you can stick it anywhere! Hope this helps. It's a dry subject to learn about, and as people say, the FOH person will add healthy compression anyway, but it's alwayf fun to dig deeper on a subject.

Does anyone know if the Future Impact offers midi out to control other synth modules?

Honestly, I'm genuinely worried about what I might come back with.

I think it's a matter of perspective - Just like you don't want to be the strongest person in the gym, you don't want to be the most knowledgeable player in the band. This way you get to learn from them in a practical setting, which is where music matters most. Don't be afraid to voice opinions because opinions in art are as valid as any other, and shouldn't be qualified, otherwise critics and music historians would be making the most interesting things. Plus, getting stuck in and learning the diplomacy of writing sections as a group, if you think a section could be stronger, transfers to other areas of life.

Still not been to BD, but looking forward to going when I've finished my degree!

Sorry to hear that. I'd definitely try the Dimension C or TC electronics version next.

This is in the manifesto for sure Thanks! This is a big one that I'm keeping in mind. The whole reason I've decided to do this is I want consistent tests. Thanks for your answers - I'll be asking all of you for feedback when I start getting them up. Be brutal.

Only you can decide if you need something for a change of sound. A multi effects pedal could be perfect to begin experimenting with sounds; just remember that it's easy to confuse not liking the effect itself (For instance envelope filters) with that-pedal's-version of an envelope filter. I'd always recommend doing some digging into what effects - if any - are/were used by your favourite players or on your favourite songs. As a rule, I always go straight into the front of the amp. As far as filling out the sound, it depends if as a band you feel it needs filling out. The examples I always use of pulling that off nicely are Tim C in Rage and Chris Wolstenholme from Muse. They usually do so with careful use of distortion/fuzz.

Any other thoughts?

I do enjoy this. There's something to be said about getting to witness someone listening to something that moves them. When it's genuine.

The guy gets to make a living doing what makes him happy. Can't say fairer than that

I'll take his facebook details if someone wouldn't mind

Preeeeeetty sure most EHX are male, 9.6v.

Plus, IIRC EHX pedals usually use a different kind of power connect

Glad you got it back, though!

Very cool, @Chiliwailer! That's the beauty of Stingray's you only need to order a new pickguard to change them up and nobody's the wiser.

Practically, the bass I want doesn't exist without compromise in one, if not several areas. Also, work on the bass I have (Including buying it) is cheaper than having one built from scratch. Plus, most of the luthiers I found that could come anywhere close to the price only offer variations on one of their set designs - Not custom work. This is purely to see if anyone has done something else considered so sacrilegious, and to see how it turned out.