dannybuoy

Sometimes, you don't want to cut through but just boost your bass presence and fill out the mix with a massive pillow of low end. The new EHX Russian Big Muff delivers here. At home I'd been practicing with very mid-prominent drives and fuzzes but found darker bass-heavy pedals to work better at loud volumes, even rolling back the tone control on the pedals way back compared to what I would have used though headphones.

Great deal on a 2024 here peeps: http://bassdirect.co.uk/bass_guitar_specialists/Yamaha_BB2024.html

Here's that pickup, less than a tenner: https://www.amazon.co.uk/gp/product/B013SBRB2W

[quote name='Storky' timestamp='1505506646' post='3372537'] Thanks for the comments. I think the pots are 500s, is it worth changing them to 250s? [/quote] Only if you want a darker tone.

Vintage sound with a P & flats, I like to pair with my Orange Terror Bass. They make a combo version which although is tiny, is probably heavier and more expensive than you were after, but at least it would handle a gig no problem! I've not tried their Crush combos but would expect a similar vibe from them. A Line6 Studio 110 would be a good option for something cheap and basic, it has a B15 model built in.

Phil Jones Cub / Double Four?

I was thinking of picking one of these up myself and fitting a mini stacked humbucker hotrail type pickup. This vid appears to have one of the cheapo Seymour Duncan Hotrail clones that you can find on eBay/Amazon etc - these pickups actually get pretty good reviews. http://www.youtube.com/watch?v=PXld4T47Prs

I used a Manta in conjunction with the Octabvre, the fact you can have distortion and expression-swept LPF in one pedal is great for synth applications. The Octabvre is incredibly punchy and mid heavy with a passive P bass plugged straight in, but with certain other pedals before it, it's much more of a sub monster, so I'd have to revisit it and try it blended to see how it sounds. I don't use it much these days but I am hanging onto it as it sounded so good for that one application!

What version of Windows? I have a Mackie Onyx Satellite you can have, but I don't think there is driver support beyond Windows 7: http://mackie.com/blog/onyx-driver-compatibility

BTW, the Octabvre is very sensitive to what you plug into it. Plug a passive Precision straight in and you get that midrangey OC-2 sound. But certain other pedals being active before it, particularly my Blueberry, transform it and the sub bass is all of a sudden massive!

Nowt wrong with those Yammie BBs! I choose mine over my Fenders etc any day of the week!

Al - the low volume issue supposedly only affected the older T16 and not the rest of the range.

I have boutique fuzzes with more features that I thought sounded better at bedroom level or through headphones, but the Russian just dominated when playing at high volume. I even saw the lack of features as a plus, it takes up less board space and there's fewer knobs to worry about tweaking live. Considering the price of this though, just get both!

The best box I've found for pairing with a P + flats is the Aguilar Tonehammer. Just the right kind of breakup with the AGS on, sounds perfect right into headphones or PA. Check one out if you get the chance!

Improved chips could mean being able to run more FX, or more complex algorithms, or simply having higher fidelity or less noise. When it comes to what really matters though, it's all about the software / algorithms running on those chips. I've never tried a B3N but have tried a few of the previous generations and have never been impressed with the distortion or amp models, octave or phasers. Chorus / flange / delay / reverb / filters were pretty good though! The addition of Darkglass models is promising though and shows they are putting more effort in here!

If you were already a few metres from your cab that gave you a 15ms delay when plugged straight into the amp, then adding an extra 15ms could well be noticeable. I can certainly feel a 30ms delay affecting my timing when recording, 15ms not so much.

Your amp is most likely mono, so just use the mono output. If you happened to run dual amps, or were recording with it, you could use both outputs simultaneously, assuming the two outputs are individual mono channels (rather than the stereo one being designed to be used alone and actually serving up two channels to a stereo TRS jack).

Looks like a bug in the site, select to view the desktop version in the browser settings and you'll see it.

You can probably work one info more contexts than you realise. I found myself stomping on it for breakdowns at the end of a track and all sorts of places. In a noisy mix with the tone set low, the fact it's a fuzz gets pushed to the background, you just end up with a massive fat boosted bass tone.

Gave mine a good workout at a loud rehearsal earlier. It has so much low end grunt it's unbelievable - pitted against my two favourite fuzzes, the Team Awesome Fuzz Machine and FEA Photon II, the humble EHX won the battle. It just sounds massive! The other two are going to stay around for recording purposes but the Green Russian is the one I'll be using live from now on.

^ Deleted my comment as it no longer made sense, yet it lives on! You'd struggle to find an on-board pre that gave you EQ, grind and compression, yet alone one with no knobs. I think you are looking for a pedal... I don't think you are looking for a scooped EQ for a solo sound if you are used to moving to the bridge pickup, which is very midrange focused. More like a mid boost? I'm quite into the Fairfield Accountant for solo/boost purposes at the moment - leave the switches in one place, then all you have is a volume knob, and it gives a bit of boost, grind and compression all in one tiny box. In fact you could probably rehouse it in your bass without too much trouble! [media]https://youtu.be/cumlB6lUU-Y?t=129[/media]