dannybuoy

I always thought it was generally known that it was a Leslie. I used to have an Option 5 Destination Rotation pedal that got fairly close. Not that the original recording did, but being able to slow the speed down for the verses and ramp it back up again for the choruses sounded great and is something most rotary speaker sim pedals are capable of. The DLS Rotosim looks great but costs serious beans and is pretty big, both downers if you're only using it for this one song. You could get close enough with an overdrive combined with tremolo, chorus or phaser though. Some choruses are better than others at replicating this effect, I seem to remember when searching many moons ago people recommending an old Arion chorus pedal for rotary sounds. Worth a search to see what cheap options turn up!

Looks like a very nice piece of kit indeed. However I'll give you the reasons why I chose the OmniCabSim instead: - For studio use there are tons of cab sim plugins already, including some from Two Notes, so I wouldn't need a big expensive box for this purpose. - For live use or even just mucking about at home, I'd want something smaller that was easier to adjust on the fly rather then rely on presets and digital menus. - I would expect to encounter a sound engineer at some point that insisted on a pre-EQ clean DI... You could of course just give them two XLR feeds, but being digital the Torpedo would have a slight delay to it which would cause a few problems when blending the two signals.

^ Flat setting is mids maxed rather than 12 o'clock btw. Tone control on your bass for the treble, cab positioning for low end response (i.e. get it up off the floor or further from the wall)! Or all from your bass if you have an active pre! But I've never found the OTB's 'flat' setting overly bright or bassy. There are simulations online of passive tone stacks of you want to see what's possible. One oddity for example is that with all EQ knobs off, no sound passes through at all.

I guess I was fooled by the specs - the Two10 goes up to 6KHz and the Compact only 4KHz. That only tells part of the story though, just the maximum frequency rather than the overall brightness or EQ curve.

Leaving it on all day should be fine, it’s essentially the same power supply technology used in thousands of devices that are switched on all day long like cordless phones and set top boxes. Check everything one thing at a time. Could even be a dodgy cable, that would be the most likely explanation given what you said at the end. I thoroughly recommend the Behringer cable tester btw!

So the Super Compact is brighter than the One10? Interesting, I thought it was the other way around! I tried the D800 into a Two10 and it was a great combo, that amp is just good full stop no matter which cab you use!

I don't think they are overly sturdy seeing as from the 10 or so I bought, 2 of them were DOA! They should last a long time on a pedalboard though if handled with care.

Don't stress, there are tons of people using them happily, you might never experience an issue! I used them on my board for a bit and only discovered an issue when I started using a PJB Bighead for practice which was a lot more revealing for noise than my tweeterless cab. After an expensive power supply upgrade the noise remained so I tested all my cables in a true bypass looper and found these ones to add significant noise but only when I had the dimmer switch on in my room. But at a gig or studio you can never tell what kind of electrical interference you might encounter...

The reviewers loved the Deluxe on bass, I have to say it was one of the best sounding too. I don't think you'd go far wrong, there's probably plenty of used ones on the market too outside of BC!

Maybe a magnetic badge you can peel on and off like a fridge magnet... bonus being you could also put it on your fridge when not playing through your BF cab.

The Green Russian is awesome, but if you want to 'cut through' you might like something with more mids. I've never had a problem with it being heard though - it has soooo much bass and low mids it kind of 'pokes under' rather than 'cuts through' if you know what I mean! Might be just what you need - instead of trying to cut through the upper mids battling against 3 guitars, just sit underneath them and totally dominate those frequencies. I discovered that the upper raspiness of the muff quickly gets lost in a busy mix so I stopped trying to fight it and just turned the tone control down to just own the low end!

I like messing around with different preamp pedals, so I can effectively use the Orange at its flat setting as a cheap but very loud and very nice sounding power amp! About the common valve swap for lower gain tubes - does it end up sounding basically the same but for example gain at 9 o'clock on a 12AX7 equivalent to 1 o'clock on a 12AU7? Or is there an audible change in tone

What's misleading though is that all 3 EQ knobs on the OTB are labelled Cut and Boost on the left and right sides, with a zero at the 12 o'clock position!

This video confirms what I've been trying to tell people for ages - those flat patch cables from EBS and Rockboard are very prone to noise in certain environments (skip to 22:46). Not seen those mini Ibanez ones before, they look great!

The one I had felt like a dead plank though compared to the Classic 50s. Like all basses some of them sing and some don't!

The comes a point though where if you're talking about sourcing genuine Fender parts, you may as well just buy the Steve Harris Sig and be done with it!

I reckon that 'worn-in feeling' is mainly down to the satin finish instead of the hard plastic feeling poly finish. I'd say there's a good chance the Lacquer version has the same smooth feel as the RW just without the dirt and cigarette burn!

I just wished I'd waited and ordered that Silver Peg the following day when eBay had 20% off everything site wide!

Didn't the Classic 50s with the poly finish get replaced by the Classic 50s Lacquer with a nitro finish a few years ago? That would make the only difference between them being the relic job. The RW gets raved about, but I had a RW and Classic 50s in the house at the same time and the 50s walked all over it when it came to resonance and tone. Of course basses vary individually so it could just as equally have swayed the other way! That 50s was the best sounding P I'd ever tried except I did not get on with the combination of wide neck, curvy radius, and sharp fingerboard edges.

You can ask Alex to make it with the badge in whatever position you want with the cloth grille as far as I know. It's the steel grille where your options are limited because there is a special space for it in the design.

If you're open to bolt-ons, and don't mind the 'interesting' body shapes, Reverend basses are worth a look too. Some of them have a P pickup configuration within a larger Musicman style housing.

Stratosphere in the US stock all kind of random Fender necks, but they're not cheap to import: https://stratosphereparts.com/vintage-50s-ri-fender-p-bass-neck-precision-guitar-1957-tinted-maple-sale/ They've actually got 3 Steve Harris bodies in stock so might be worth emailing them to see if any of the necks are still lurking around! I'm not aware of any aftermarket necks with similar specs... Might be an idea to keep an eye out for a cheap used Classic 50s P and break it up for parts.

I found the Ultimate Drive quite lacking in bass for me... The American Sound has tons on tap though due to it's 3 band EQ that still has decent low end without having to boost the bass. It's pretty versatile too, just at home with a mellow Precision and flats or a more aggressive Jazz with rounds. I think I got mine for £15 used! I've yet to try the Orange Juice though but will probably get one to try soon - might order the out-of-stock one on sold by Amazon for £38 delivered (normally £50 everywhere else) as they would have to honour that price when it came back in stock!

Also Warwick and Spector surely have done a few neck-thru PJ 5ers?