thisnameistaken

TBH though as bass players we're usually putting the finishing touches to someone else's chord, so we rarely need to play more than one note, just the right one. Unless you're tooling around in your bedroom to put a performance together for Youtube or something, which it seems a lot of bass players do full-time now.

I don't usually have enough treble to my bass tone to make a chord sound like anything but mush. I do use double-stops sometimes though.

Yeah. Like you might have it operating as a +2 octave whammy using pitch glide on the first stomp, have it also controlling the cut-off frequency *and* Q of a filter on the second stomp, and finally controlling the feedback level and/or delay time and/or wet volume of a delay on the third one. Or other stuff like that. You can also use it as a two-state switch on some effects, like changing the pitch of a synth from one octave to another (I have one patch where I have a square wave bass synth on the heel position, then a square lead synth (+1 octave, open the synth patch's filter up a bit) on the toe), or having a different harmony note (or different key, or both) set on toe and heel positions on the smart harmony patch. To me that's the best feature on the M9. Oh and you can plug in a second expression pedal if you want tell it which patches each pedal will be in charge of (you can set this per scene). Unfortunately I don't think there's any way to have each pedal control different params on the same effect, but maybe someone else who's actually got two expression pedals can correct me!

Couple of plus points for the M9 though: It's easy to program, the interface is mostly sensible, although they've had to make some compromises over the M13 to pack all the functionality in. And the way you can set a single expression pedal to control almost any (or all) parameters on one, two, or three effects at once - that's a really nice feature that opens up a lot of slick possibilities.

I've got the M9. The dirt isn't as bad as I expected it to be (I've used one of the overdrives and also the Muff model live and been happy with them) and the delays are good, but it's lacking in the modulation department. Not many choices of chorus and flanger and I didn't really love the sound of any of them. With maybe the exception of the Dimension C model which is quite interesting.

Would it make more sense to bring it with you to the UK and sell it here? I suppose it's a fairly inconvenient thing to put on a plane though.

[quote name='Low End Bee' post='1010812' date='Nov 3 2010, 02:21 PM']Shender's better than the alternative. The 'Jazzathon' [/quote]

I quite liked Cream, has he done records since then? If they've got Ginger Baker on them I might give them a listen.

Yeah that might be a good price. Ultimately you have to advertise it at the price you think it is worth / will fetch, and if nobody bites then either it's too expensive or you're selling to a very small market. So you either need to reduce the price or wait, respectively. I think the reason some people put their used prices too high is because they are in a persistent process of buying and selling, and it pains them to lose so much money on gear that they don't need or didn't really want in the first place.

Buy an older model Bass Micro Synth and stick the Bassballs after it. Instant demon voice.

I suppose it means you don't have to arch your elbow up and over the shoulder to switch to thumb position, but I can't imagine that's a massive selling point really, given that every virtuoso ever has coped alright and "whole" basses look much nicer. I suppose also it's somewhere to put your pint.

[b]C-C-C-COMBO BREAKER![/b]

I'll watch it on iPlayer instead so I can just watch Bellowhead.

A mate of mine did this, called it the "man room", and also put a bed in there and a fridge and a big poster of Cantona!

I wipe the neck and fingerboard down with warm water, then scour the brass frets a bit with a nylon pan scrubber to put some shine on them, then I wax the body and buff it, then I put fresh strings on.

[url="http://www.youtube.com/watch?v=omhhB7NFPBk"]http://www.youtube.com/watch?v=omhhB7NFPBk[/url]

I think old basses look nice with a few knocks and scrapes on them, but I think new basses that have been painted and then sanded down as if they've been played every night for 30 years by a man with cheese graters on his forearms look bloody stupid.

I used to have problems with broken strings but that was 15 years ago, I don't think I've had a problem with a bass at a gig since about 1997.

I've heard a lot of complaints about their low-pass filter being noisy, apparently it's quite common to insulate it with copper shielding. Might be worth a shot? I have to say I would've expected better from Moog, the moogerfoogers aren't cheap.

Another +1 for Reaper from me. The tunes we recorded a few threads down were done in Reaper, all using Reaper's stock plugins for compression/reverb etc.

I was a bit disappointed that the video doesn't show anyone actually playing one of them. I'm assuming they are nice basses though if they get play time amongst your collection (judging by what I saw a couple of years back when I bought your Hartke head).

This was the first thing I played on my double bass in thumb position, I still play it sometimes.

You actually do have to pay duties on any new parts involved (I suppose some scammer must've used this as a method of bringing in components and avoiding duty on them in the past) but I don't know if the cost of labour is taxable. Have a nosey, but yes you probably would be liable for some duty, whether you end up paying it or not is another matter.

I would do almost the same as the suggestion above, but I would put the compressor after the filter for two reasons: It will give you more dynamic range going into the filter and of course a broader input envelope means more quack, plus it will take the edge off any sharp resonant peaks coming out of the filter so it will protect any speakers and human ears that happen to become embroiled in your musical procedures.