dannybuoy

The Ultra versions are great for the adjustable mid EQ points, but the dual footswitch thing isn't that useful IMHO. Without the Ultra's drive engaged, you just have a (very good) clean EQ, however you're stuck with those same EQ settings with the drive on and off. If your amp had a decent EQ already and you don't really need another clean EQ, it'd be better to use the pedal's EQ just to sculpt the drive tone, making the clean/dirty switching redundant. E.g. I find that when using the Vintage with the blend towards the wet side I like to dial in a dollop of bass and treble boost, which I might not necessarily want when I switch back to a clean sound. Therefore I'd just turn the whole pedal on or off, so could have just stuck with the regular VMTD!

The Barefaced One10 plus micro amp setup can be pretty loud and should more then cover your needs. But if you are truly doing low volume coffee shop type gigs, a PJB Double Four should suffice and is about the size of a shoe box!

We have a product page! http://www.tech21nyc.com/products/sansamp/dug_dp3x.html

Had a go earlier playing the My Generation solo with a Thunderbird, the VT Bass sounded pretty good. The Joyo American Sound was a bit more buzzy and darker, not quite as close but still very good for the price. I’d like to give the Leeds a bash though!

Also be aware that if you swapped it for a 4ohm Two10, you would have less speaker area but since the impedance is halved, the amp would be delivering more watts to the cab with the volume control at the same position, so swings and roundabouts! There is a 12ohm version of the cab though and the latest ones are 4/12 switchable.

Yes you will be quieter playing into an equivalent cab with less speaker area. But different cabs have different sensitivity values so you can't say the same for sure when looking at different brands. Did you say that amp had clicks on the volume control so you can't take it below 1? If so that's a stupid design and I'd be looking at a new amp. Trying to reduce your volume by switching cabs is the wrong path.

It's not as bright/clangy as the VT or Leeds but still has plenty of low end and tube like grunt. Can't go wrong for £25 anyway! https://www.amazon.co.uk/gp/aw/d/B01A89FPMU

Listen to the end of this to get an idea:

His tone is most likely just an overdriven tube amp, so I'd try one of the Tech21 character series or one of the many cheap clones about these days. I can get close with my VT Bass or my dirt cheap Joyo American Sound (I've seen other branded versions of this going for £25 new).

Not always the case. Depends on the power supply design I suppose, but some will shutdown when your pedals are drawing too much power. It’s likely that the Le Bass needs less than quoted in the manual, and the DC5 puts out more than quoted in the manual since both vendors factor in a safety margin, and somewhere in the middle the pedal is getting all the juice it needs whilst the power supply just starts to sweat a little bit!

I just powered mine straight from a single 12V 300mA socket, worked without an issue. BTW I’ll be having a Le Bass up for sale very soon if you’re after one!

My basses sit in a rack except for the T-Bird which is more stable in the Hercules stand. Recommended!

Go for it if you want to learn it. It's lower on my priority list though than learning to recognise intervals and chords by ear and figuring out which scales and shapes are best to apply over them. My aim is to be a better musician in a jam situation where there is no sheet music around though! You don't have to learn how to read sheet music to make significant progress as a player - Pino can't read music and he's one of the most in demand session players on the planet!

The latest B3K version has the tone control added btw. But the best LPF is the free one you get from not having tweeters! I'd probably say the HGBM was too warm and muffled if you were trying to make the T-Bird sound brighter and bring out the string clank and overtones (which is what the VT, Agro and B3K are great for). Tell you what, I'll do a few clips with my Epi Classic Pro T-Bird for you before I put it up for sale!

I suppose if your playing a T-Bird, those pickups are really fat with the emphasis on the lows, so you would want something that really brought out the upper mid growl without sounding fizzy? I like the VT Bass or Agro the most with my T-Bird, both pedals can be dialled back to a reasonably flat clean sound so can be as subtle as you like. What have you tried so far?

Most people gravitated towards the 500 series over the 300 due to it's nicer finish, active/passive switching, a 'grown up' EQ rather than 'Fisher Price My First Active Bass' preset system, and the belief that the higher price reflected a higher quality bass. However when I gave the 300 series a bash I instantly thought it was the better sounding instrument and those presets were pretty handy too!

Bear in mind that all the demos done by the second guy basically sound the same as he is going into a distorted Line6 SVT model for recording! Does sound good though, but I'll never forget the B7K demo he did where the first 5 seconds had an awesome overdrive tone... then he turned the pedal on!

Electronics look the same as (or very close to) the 5 series. Anybody else happen to think the cheaper 3 series sounded better though?!

I like how he lists the fact the strings have never been changed as a positive!

If it was played alongside the original recording, two basses played in unison will sound like a chorus effect.

Having just seen the thread title, I was expecting tracks from Blondie and The Pet Shop Boys!

Never heard the track before or knew who played on it, but guessed it was Pino after hearing those runs leading into the chorus!

Anybody try running theirs at something more common like 12V or 18V? Disclaimer, don't try 18V just to find out in case your pedal blows up! I've tried a few 9V pedals at 18V by pure accident and have been lucky so far though!

Think of it this way, say another band on the same night had an extra guitarist and keys - the FOH would have to deal with those extra channels then, why should you be treated any different. Just class the B9 as your keyboard player! The B9 has a dry output, so unless you want to split your signal beforehand so you can send an octave up into the B9 (which I recommend trying), just go into the B9 first and send the dry output to the rest of your bass chain. I really like the B9 going into a bit of overdrive or even a dirty guitar amp (that you could then mic up), so give that a try too!

I think the 70s pickups are the most contributing factor. The two most liveliest / growliest Precisions I've had have both had rosewood necks for example. A basswood Squier VM was my first P, and I felt I made a significant downgrade when chopping it in for an ash bodied US Standard which sounded dull by comparison (although I'm very happy with it with flats on). The other is a MIJ 'Jazz' Special (it has a P body and P pup!) which was the growliest P in the shop when I tried a bunch in Wunjos. No idea what the body wood is on that though!