dannybuoy

The Mad Bean Afterlife gets good reviews for a diy comp: http://www.ovnilab.com/reviews/after.shtml

I really loved the look of the 505 and was gassing for one, until I listened to all the various clips and demos I could find and it was clear that the 305 sounded better and was cheaper!

Get a cheap true bypass loop pedal and test all your patch cables with it. With just a simple patch cable in the loop, you shouldn't hear anything turning it on or off, but I was surprised to find some of mine either dulled the signal or added noise, so I binned those!

[quote name='51m0n' timestamp='1476995060' post='3159163'] Yep, my band Mister Super Juice (see link in sig) are a seven piece instrumental cinematic funk band. [/quote] Liked!

Not tried the new VMTD either but prefer my Vulcan to my old VMTD and B7K! Although the B7K still rules the roost for metal.

A Boss LS-2 will do half of it, i.e. blending the B7K with an EQ'ed clean signal. Put the B7K and EQ in separate loops. Ignore the parallel out of the B7K and let the LS-2 split your signal for you. Set the mix levels with the LS-2, then if you want to bypass the EQ and just have the B7K blended with clean, just turn off the EQ. Or if you just want the B7K soloed, hit the LS-2 to switch to just that loop instead of the mix of A+B. Alternatively, SFX also do a simple mini mix pedal that sums two pedals together - you could use this instead of the above to blend the output of the EQ pedal and the B7K effect out. Since they both have volume knobs you can do without them! That's the blend portion out of the way - then just use a separate true bypass loop for the rest of the wah/fuzz chain. But if you want it all in one box, I would hit up SFX, COG, Bright Onion, etc!

If you want a drawbar organ sound look at the EHX B9 / C9 pedals. If you want a mellow house-like synth bass sound - 3Leaf Octabvre Mini gets my vote, that's exactly what I use mine for!

You don't need a Precision, you need two. One with flats, one with rounds. And a Jazz.

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If you want a decent simple passive A/B box in a tiny pedal, I have one for sale here: http://basschat.co.uk/topic/290887-lucid-audio-fuzz-o-potamus-original-q-tron-wee-lush-ab-boxx-napalm-snowball-feedback-loop-tap-tempo-switch

I would also avoid using Bluetooth for playing bass. However, for video playback, some players automatically adjust when connected to Bluetooth, I know the nPlayer app I use on my iPad does not do this but it does have a manual slider to adjust the delay!

I currently use a Fairfield Accountant as a dirty boost. Sounds much nicer than the Phat Phuk to me. It's a compressor, but set to low compression it's a fantastic mild overdrive/boost in 1590A size - and there's one in the classifieds! http://www.youtube.com/watch?v=cumlB6lUU-Y http://www.youtube.com/watch?v=121MDHvWwEw Otherwise there is the Southampton Fifth Gear - the old model is 1590A with just a volume knob, the new one is slightly larger with more controls.

Beyerdynamic DT-770 Pro. Only ever tried Sony MDR-7506 (meh), PJB H-850 (ok) and these (great) for bass practice.

I've looked inside and can see no reason why it wouldn't.

The Boss LS-2 will split the signal for an fx loop for the laptop, give you individual level controls for each channel and mix to a single output for the bass amp.

A Boss OC-2 with the octave soloed sounds awesome - but the output volume isn't quite up there. The 3Leaf Octabvre fixes that though, I highly recommend it. Then pair that up with a Source Audio Manta, a mad filter/distortion pedal with envelope/LFO/expression/hothand control and you can conjure up tons of sounds from those two pedals alone.

Steel strings, scooped EQ. Sounds awful to me though, he could do with a set of flats and boosting the mids!

I would call that a latency issue rather than tracking, which usually refers to an analog octaver's tendency to warble when trying to lock into the correct pitch. There is a small delay with all digital octavers though. If you want instant response, don't need to sound like a natural bass guitar, and only need monophonic octave down - analog all the way!

Echoing what some others have alluded to, the recording and mixing processes are just as important as the mastering. Make sure you're getting top quality results from the earlier stages too, as you can't polish a turd. You can however, roll it in glitter!

If you're using Dunlop steels, they feel lifeless because they're cr4p strings. I put a set on and found them duller than their nickels (which are decent)! Dunlop Super Bright, or the Marcus Miller set, is another story though. Very lively, and the lowest tension I've ever seen in a string, which makes for effortless slap etc. But they took a long time to break in until I was happy with the tone, they sounded far too thin and clanky at first.

Truetone CS-12 does 9V AC and is not on that list.

If you wrap the string around the post a couple of times before turning the peg, this twists the string. If the ball end isn't rotated to free it, you can end up tightening a twisted string, which can result in dead sounding strings, strange overtones, or even a chorus-like effect.

For a rock band and that budget I would be seriously looking at the Fender USA Geddy Lee sig!