dannybuoy

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.

I had no idea Def Leppard, Jethro Tull and Cheap Trick we’re still going! Good on ‘em.

According to this you do: https://www.talkbass.com/threads/my-method-of-using-ged-2112-sansamp-through-one-amp.1297080/#post-21059000 “I contacted Tech 21 and they sent me a download showing a diagram with two internal jumpers that sit right next to each other When the first one is reversed it combines the drive and deep channels allowing you to use one cable from the unit to your amp. The other jumper allows you to use the function switch as a bypass instead of a mute. The tech at my local store made these modifications while I watched and it took less than a minute. By eliminating the Morley ab/y box I was using to combine the two signals I eliminated nearly all of my background noise/hum from my amp and the unit still sounds great. The bottom panel of unit must be removed(six screws) to make these changes which are just as easily reversed if so desired.”

If you'd have gone with Interparcel or the like you would have got an even cheaper quote than from going to UPS direct in my experience. I wonder if there are similar services based in the US? But agreed, that takes the piddle. If you buy a brand new bass from a store that will ship to the UK (look on eBay for example) you can see shipping charges are usually under $100.

Might be more to do with the boundary effect, i.e. less bass output as a result of being further away from the back wall, rather then anything to do with the mics. Easy to test by turning the mics or PA off though!

I have literally never heard it pronounced to rhyme with embarrassed, and if I did I would think they had it wrong. But it seems you are correct! https://dictionary.cambridge.org/pronunciation/english/harassed But language is constantly evolving. If 99% of the population say haRASSed then surely that becomes the 'right' way eventually!

I think you say it like "say"! As in sensei!

Easier to just peel the keys of and swap them around, similar to how you solve a Rubik's cube.