Undertone

Hmm. Thanks for the VFE reference - another one to check out.

Thanks again. No video necessary thanks - I'm pretty adept w Google and spent most of last night searching and reading/listening. I read somewhere that the micro Mutron IV needs its gain changed when one switches from up to down - that's kind of a pain - but it's also why it has a CV input for a controller. The sound's supposed to be good though. The Mini Mutron V sounds good too but at a little over half the price of a Mutron III but with only a Range and Lo/Hi switch, it doesn't seem worth it.

To be clear, there appears to be standard and older big box versions of both the Q-tron and Q-tron+ - the older with the footswitch in the left hand corner and the box in silver, the standard with the footswitch and the box all in black+colour. Were you referring specifically to the older big box version or either please? Also, the Q-tron+ appears to have slightly more features. Also, the AF9 appears to exist in a newer 2-knob version and and older one with faders - would you expect them to be equally similar to the Mutron? Thanks again.

Many thanks - that's super helpful. I've played through one, having borrowed a friend's MuTron for a month and played through a few in studios. I wouldn't use one much which is why forking out £700+ isn't going to happen - I mostly just run compression, octaver, the odd filter (Spatial Delivery), and pre-amp (I've a few other trinkets). Previously playing mainly traditional funk / jazz-funk, some recent requirements have been more flamboyant. Thanks again for the recommendations which I'll check out. Regards

Thanks. That was Dishan's reason too - his sound in a go-anywhere pedalboard, then hope you get a decent amp at the gig and run it pretty much flat. I'm kind of attached to my Aguilar hardware but if it means I can free up funds and space with minimal impact, then I should at least consider it. Any other experiences out there?

Hi. I'd be interested to hear recommendations for clones of the MuTron please. Analog preferably, otherwise digital. By clones I mean ideally very close to the MuTron sound (and more ideally, functionality). If that doesn't exist, then as good approximations as are reasonably available and cost significantly less than a MuTron will be helpful. I'm fully prepared to accept that "you'll never find a substitute for a MuTron" or that there are no clones or decent approximations, but I just wanted to ask. While we're at it, same question regarding a Future Impact FI-1 pedal too if anyone one knows. Many Thanks

Hi - I'd be keen to hear from anyone who's moved from a Tonehammer 350/500/700 as one of their main rigs, to using the Tonehammer Pedal on their board instead, and running it through whatever main amp they use (and what that is), OR vice-versa (moving from pedal to amp). Or from anyone else with insightful views. In particular, I'd like to know why they did this, what difference in 'sound' it made, the impact on (non-obvious) practicalities, and any other interesting aspects please. I use an Aguliar Tonehammer 500 & 2 x SL112 cabs. It's not my main rig but I use it about 35-40% of the time. After watching an interview with Dishan Abrahams, it occurred to me to consider how different it might be to simply have a Tonehammer pedal on my board and run it into my main amps (eg. Eden WT-800, WT-550 and others of comparable relative neutrality), dispensing with the TH-500 & SL112's. Question: how do we feel then about the mix of Aguilar Tonehammer pedal sound going into something like an Eden WT-800? (mixing sonic characteristics). (I imagine not too bad as Eden, while slightly warm, are relatively neutral). What would we say if it were a Trace instead? And, what of the impact of cab voicing? Do we feel that also dispensing with the SL112's would materially change the sound vs the Hartke HL series (more neutral) I use w my main amps? I realise there are a lot of unknowns here - assume minimal effects used and funk, jazz-fusion & indie rock as main music styles. Thanks.

Hi. I see no response for this thread yet. Sorry if mine is lengthy. I've used Hartke XL series consistently since the 1980's and during the original longer lockdowns I started checking out recent models from HX onwards (and other brands). There's no discussion above of music type nor playing style but for me, I like their clarity, punchiness, transient response translating to definition (vs just brightness), rock solid build, projection, minimal cabinet impact on colour (particularly in the larger cabs), and while colourless is still a colour, I find them pretty neutral. Not as neutral as TC Electronic (too neutral for me), much more neutral than Aguilar. That neutrality allows me to more consciously construct my sound, and renders them more versatile, which for me is important as I run a number of different amps through them (Eden, Aguilar, Trickfish, even Trace) for different gigs and music styles (jazz-funk-R&B-indie rock-pop). They look neutral too I suppose. Plenty of great playing and great sounding guys play / have played the MarkBass too, so it's great too - it was a candidate when I was in my search. Love Randy Hope-taylor, Richard Bona et al. I couldn't find any and speaking to the UK distributor (teenagers) was frustrating, Hartke USA answered almost no emails and gave incorrect information when they did. Nevertheless, the product is good and I ended up buying from Bax (HD & HL 210's had never come up used), who show availability on their site so I didn't get order cancellations. They even called me directly to discuss a small shipping delay and arrange delivery. They occasionally have sales and one can achieve a modest reduction - this was before recent market-wide increases. I run HL210 + HL115, or HL210 + HD112 (picked up used), or 2 x HL210, occasionally 1 x HL210 or 1 x HD112 for very small applications. As they're very different, I also purchased 2 Aguilar SL112's (used) at the time (for my Aguilar amp) - time will tell if I keep / upgrade these. I'd love a 410 if I've got someone else to carry it for me (I'm late forties). So having gigged both HD and HL 210's they sound and perform virtually the same. The baked finish on the HL is tougher and more scratch resistant than the coating on the HD's. The single HL handle is just a slot - they save weight there. The HL is lighter but to be honest that's more pronounced in the 410. Both sealed and punchy as hell. Both plenty of definition. In the 112 I prefer the HD as it has the 4 / 8 Ohm switch which was dropped in the HL, but the HD is the heavier (same as the HX so you could pick one of those up used cheaply). I think finding HD/HL210's used is going to be tough for quite a while but keep an eye out. I run 2 x 210's stacked horizontally (raised), hadn't thought of vertical. I think if you're buying new, makes sense to go HL since the price differential isn't large. But if it's between used HD vs new HL with a significant price difference, I'd go the HD's if you're looking to save funds and can deal with just a few extra kilo's. By the way, I get no kickbacks from Hartke, nor Bax, nor do I use them just because Victor Wooten does. Haven't tried Fender cabs so can't comment there. Hope this helps. Regards

Otherwise these guys (in the US) might be able to assist: https://britishaudio.com/collections/trace-elliot-parts?page=6

Thanks so much all. Super useful and I'll pursue. Regards

Thanks all. Very interesting link to string tension perception. OK. so the active/passive inputs are about what the circuit will handle, rather than (as I'd though) an amount of signal boosting rendered to make it useful to the preamp. Useful impedance info too - thanks. I'm aware of the tension/pitch/cross-section relationship, but interesting to note the construction/geometry effect dependence and this is kind of what I was asking about. I prefer a less compliant, higher than average tension feel (but no so much that I can't bend a bit). Thanks for the recommendations which I'll now look into (as Labella's appear to be signif. pricier).

Would folks recommend some highly competent and tasteful bass techs in London please? If they're really special then I can deal with their being a little outside London. Mainly for set-ups, fret-dress, side LED repair etc., also the odd part replacement, on '63-'64 Precisions & Jazzes and an Alembic Europa 5. I ignorantly went to a couple in Denmark St. when I arrived in the UK 14yrs ago and was very disappointed. Same with another prominent one in Camden who weren't bad but were so busy they didn't devote appropriate time/effort to the task. PM is fine if there's any sensitivity around naming folks in this forum. Thanks

Couple of questions people. My amp (Eden, Trace) has Passive and Active bass inputs. If I run a passive (Precision/Jazz) through a Sadowsky pre-amp (SBP) and into the amp (in-line), should I use the Active amp input? (which I'd use if the pre-amp were built into the bass). My Tonehammer-500 only has 1 input - how is it treating my signal with & without the SBP? I saw some dialogue regarding "high tension strings". I've not heard explicitly of this before but have certainly noticed when test playing basses (all 34" scale and Fender derivatives to various degrees of abstraction) some string sets have been taut (I prefer), others floppier. Are there such things as high tension strings? Or is it a matter of tautness as compensation for gauge? Finally, I want to try some black tapewound strings on a precision. Any particularly recommended brands to try or avoid? Thanks.

(for the same settings)...

925 to me sounds like the mids are very slightly less prominent. The note transients seem more percussive too. All slight though.

Many thanks all. I'd thought the higher number (eg. B4) implied a later model but the above records show the reverse, so I learnt something there. Seems also that a lot of folks change some electronics / pups - I met a guy in Berlin who installed the Die-J-Retro. His was heavy but as has been said, precise in every way. I know Yolanda Charles played one for a few years and that (and she) sounded good (on her albums & live). Thanks again.

A bass I don't see much and know little about, nor can find much out about, are Levinson Blade basses (Swiss or Japanese made). I played what I think was a 35" scale B-25 bass a while ago and although quite heavy, it felt pretty good to play. Interested to hear from those who play or know a bit about them.