Iheartreverb

I love the Way Huge Pork Loin. For me it’s the only drive I’ve played that feels like the dynamics of a tube amp (“pillowy compression” anyone). At one stage I had two on my board. its not really a bass specific pedal, but the clean blend obviously lends it well and I got into it after seeing it on the board of a few pro players I really like. They now make a bass version (Pork and Pickle), not sure if there’s any internal changes.

The key to the SLO for me is the ability to mix and match the modulation style with the reverb type (some sequence of hold and move control). “Out of the box” it wasn’t fully doing it for me either but once I’d cracked this I couldn’t do without it.

In my experience the volume of promo has been as important as the it being the right kind. look at bands at your level or the level you’d want to be at who are in a similar vain, who’s putting their stuff out? Who’s reviewing it? With my last project I started out doing as you have but ended up zero’ing in on blogs/ feeds reviewing the type of music/ bands we were doing and had some good reviews (in niche circles) early on, despite having nothing to offer or show for ourselves. The same with gigs, we developed relationships with people working with the sort of thing we were doing and played some pretty big supports early on, again within the niche of what we were doing.

A bit late to this thread but I thought it was interesting. loads of useful advise here on your questions of standard or expectations being too high. I’ll share my experience for what it’s worth. I played in a band that meandered with no direction or progression (or gigs) for a few years before falling apart. One person in that band has become a frequent collaborator since and we’ve done much more worthwhile music other. So even if a scenario is less than ideal, and I fully understand the hesitation of getting involved at that point, who knows where it could lead. More recently, I used Join My Band for the first time, came across someone who couldn’t be more ideal in terms of someone to work with on another band. Not only do we have loads of common but the music he’s been working on is exceptional and he just needed someone with more confidence to help move things forwards. So far, I’d say it’s worth not discounting it as a platform. Also you mention Baby Chaos, Chris produced the last EP I did with my last band. Just a funny coincidence more than anything.

I’m selling mine if anyone is interested

Thanks for the advice, I’m just gonna give it a measure and go from there and will check out strings direct

Apologies if this is covered through the thread somewhere. I picked up a string-through- bridge 32” scale bass recently. How do strings with silk ends work with somebody like this, is there enough clearance? I can’t really find the thing I want in a medium scale so might have to buy standard strings but the sink is a concern. cheers

Hi all, I’m back to playing bass after years away of playing guitar and not even owning a bass (sorry). I fired some slinkies on to keep me going but I’m not happy with them. I adore flats (used everything from Chromes to LaBella) but they simply aren’t going to be versatile enough for what I’m doing now. My last bass had Dean Markley Helix on, which I picked up cheap and I enjoyed 1) the smooth feel 2) Not as much top end Not an amazing string but had some benefits I enjoyed. This has led me to looking at pressurewound, either Roto or GHS- any opinion on those? Basically I’m just looking for a worn in sounding round (I think) or simply one that’s darker but ideally, a smoother feel too. Some DR have come up on this end of the search. Appreciate any suggestions, cheers

Hello, On the search for a good short scale I’ve seen one of these locally. Does anyone know much about these? Specially how they play given the “medium” scale, which I believe is about 31.5” and what the value of one would be? I assume being an older Japanese model, they’re going to be pretty good. Any info appreciated. Thanks