dannybuoy

I think most people in the UK (myself included) never heard of Kings X until they read a Sansamp manual! But if you hadn't heard of Muse, Foos, etc, then I think it's safe to say you've been living under a heavy rock.

I have the old Tender Octaver Mk1, which to my surprise is perfectly happy sharing power on a daisy chain!

Muse and Foo Fighters would have to be up there. I'd bet most under 30s have never even heard of Yes!

You've almost converted that to a Vintage Pro already, just add chrome pickups!

My previous gen Classic Pro with hard case is up for 275 if you fancy saving a few quid! https://www.basschat.co.uk/topic/323941-epiphone-thunderbird-classic-pro-in-vintage-sunburst-with-fitted-hard-case/

Yup, this is more like it: You can definitely hear that compressor working on the lows, letting a little pop through for each note. Noice.

We got it cheaper at least! Hope we're not far behind in the queue though.

In isolation I have to say I far prefer the tones he demoed with his GED2112 pre... You can definitely hear the two separate layers here. HOWEVER I know enough to realise that in the mix all that can go out of the window and it will probably be awesome. Prime example - I play my BB bass into a B3K direct into headphones, it sounds ok but uninspiring. Mix in a full band though and it sounds perfect. Looking forward to seeing how the dUg pedal performs under the same conditions!

Plenty of people on this forum are using PA gear as their stage monitor though, that's my point: https://www.basschat.co.uk/topic/315455-interesting-frfr-story/ These people are using setups like this precisely because they are using digital modellers or Sansamps, and want to be able to monitor as accurately as possible what they are sending to the desk via their own rigs. Of course you are at the mercy of the tech, but it's ultimately another variable they have to think about when it would have been nice to have it switchable so that the main out is just like the XLR. I bet the pedal will work just fine for me, but I can see why others would prefer it to work differently. Constructive criticism and ideas for improvements for future revisions should be taken on board rather than just trying to shoot every argument down.

Prices have pushed up a bit since they were discontinued a year or two ago. People that don't frequent forums and just sell the odd pedal on Facebook are slow to catch on to things like this though hence why they often go for cheaper than places like basschat!

Sounds like you don't quite get the issue some people have with the way it's set up. It's set up just right for my rig, as I know my amp and cab is darker than your average PA as I have no tweeters in my cabs. If the signals were matched, I would end up pushing the treble too much and sending an overly bright signal to the PA. Having the XLR put out a darker signal works in this case. But when you have a rig that is full range and flat response just like the PA, it doesn't work so well. You set the EQ to where your personal amp used for stage monitoring has the right amount of treble content, but the signal going to the desk ends up darker than that. Of course they can bump up the treble at the desk, but then you've got to try and communicate that to the sound engineer. Or you could compensate on the pedal and just put up with an overly bright stage sound knowing that the audience will hear something different.

Here's a good example. Opening riff is his clean tone, already sounding pretty dirty and Darkglassish:

Indeed. Can you imagine the puzzled look on the shop assistants face if you asked to check out their selection of Eebanyeth and Squee-er basses?

I wonder if the bassist for RnBM is the same chap that posted this recently - turquoise Jazz per chance?

I'm betting this is just the clean channel, no crossover or distortion active.

They are not the same. Re-read the post - "Maybe the XLR isn't really darker, maybe the 1/4" is brighter...". Both are saying the same thing - the XLR is darker than the 1/4". As far as I'm concerned, this only matters to: Those running FRFR rigs that want their on-stage monitoring to faithfully recreate what's going to the PA Those using the 1/4" out to go to further FX before going to another DI, or headphone setup Not an insignificant number of people. Personally, I would be running it into a phaser and delay then into headphones and would appreciate the same level of speaker simulation as applied to XLR. So yeah, a switch would've been nice! But if the difference between the two is subtle, most could just tweak the treble content to suit in other ways, using the tone controls on your amp or tweeter control on your cab for example.

Try plucking further up the neck. Also is there any string buzz at all throwing it off? I don't get glitching around that area of the neck with my P & flats, but I play higher up the neck on the lower strings just because it sounds fatter. So even if you managed to get rid of the glitching, if you find it sounds better being played in the higher position, then you should do that anyway, which gets around the original problem!

But it’s the FIRST EVER fretless fingerboard guitar, probably worth a pretty penny and a great investment opportunity.