Iheartreverb

Nah, not at all, I just don’t like the look of them. Ideally would want something that looks as close to a 2” cotton guitar strap as possible, which the EB strap I’ve got kind of does

thanks for your reply. I’m aware that any massive changes would be a bad idea, I’m just out of option beyond moving it on. The straps is 2.5” Ernie Ball Neoprene comfort strap. As I say, it made a massive difference but maybe not enough. Also trying to stick with a strap that looks pretty normal and not some of the super wide or padded things.

Hello, the story is this. I’ve got a late 70s Musicmaster bass that is by far the heaviest thing in the world, certainly the heaviest bass I own. Problem is, I really like it. Looks great, sounds great, plays “ok”. The natural thing to do would be the trade against a JMJ and move on with my life but not too sure about that… I’ve started using an Ernie Ball, padded/ elastic strap and that’s made a huge difference but a 3 hour practice is still pretty rough. Is there anything else that can be done? Trying to talk myself out of looking at stupid things like having a massive route under the stratchplate. cheers

Update. It is a Darkglass B7K live

Ah, amazing. The only thing I don’t know is the black one, I assumed it was Darkglass from the view I had last time I saw them but definitely isn’t. The rest is an Empress Compressor, EHX SuperEgo and Old Blood Noise Precession Reverb

Hiya. Dom is one of those players who regardless of what he plays, he always sounds like himself. Most of his basses are fitted with passive EMGs (Precision, Jazz and Rickenbacker) but even when he’s gone left of centre (Travis Bean) it’s a similar story. If you want him play, he uses the volume and tone controls a lot, I’d think tapering off top end for mellower stuff. Chord work played with fingers and thumbs is a must. I’d think you’d just want a Fender bass and a Sansamp (one of the things that stayed on his board the longest) to get that Ampeg/ Orange amp sound (mid scoop) and maybe a Boss ODB3- there’s better options but he used one for a long time. These days I’m sure he’s using a Darkglass BK3 Ultra if that helps.

It would be worth creating a ticket with Roland directly, https://www.roland.com/backstage/login They might put you in touch with a retailer as a special order if they can’t sell to you directly, which I don’t think they can. Also worth contacting retailers who have Roland employees on site, previously referred to as Roland Planet. I think both PMT and GuitarGuitar both do.

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