Painy

I quite fancy trying the MXR Bass Preamp as I generally like the tones when I hear other people using them but I'm wondering if the trade off of gaining the distortion channel on the Bass DI+ against losing the sweepable mids from the Bass Preamp might be worth considering. I'm just not sure how close the two pedals actually are in core tone. Has anyone used both that can shed some light for me?

I think one is absolutely right and can't really understand anyone who thinks otherwise. We are talking about one OF EACH bass here aren't we?.........

Can't stop looking at the pics. I want one!!!

[quote name='azfatboy' timestamp='1473881044' post='3133878'] Nice setup. If you want chords, check out the EHX PitchFork. Imo, just as good an octaver as the xxxPOG, but can do exactly what you want too. And since you already have the microPOG, you can just use the PF to add the 5th when you want it. Perfect. [/quote] I recently bought a cheap Chinese pitch shifter / harmonize pedal of eBay. It was 5h1t. Don't go cheap - do go with the Pitchfork!

I use a Joyo Roll Boost for exactly this and it works perfectly. Just a clean volume boost - anything up to 35dB of it if you particularly want to blow your amp up! If you don't mind waiting for it to come from Hong Kong then you can pick them up on eBay for under £30 new. Couldn't recommend it more highly!

I would probably stretch to £1500 for the bass of doom. Apparently my amp and cabs used to belong to Paul Turner but I'd already agreed to buy it before I was told and it was a good price anyway. I wouldn't see it as adding any monetary value at all but it's still a nice, interesting thing to know.

This is from a physics website:- "Light can indirectly affect sound: since sound must travel through a medium (air) made of particles, those particles could absorb energy from light. When the particles absorbe energy, the temperature of the medium goes up. This will increase the speed of sound through the medium. This will in turn change the refractive index of the substance and could cause a change in direction of propagation of the sound. So since light interacts with matter, and sound must travel through matter, light will affect sound. This effect would be hard to notice under normal atmospheric conditions, but might be significant under some experimental procedure." If light can affect sound then I'm sure any change in the mass (bearing in mind a thicker neck made of much less dense wood could actually reduce rather than increase the mass) of a stringed instrument is bound to have some effect. Having said that, I'm with BigRedX on this one. What that change in sound actually is and how much of it is actually down to neck thickness (not to mention whether the human auditory system is capable of detecting that change other than through a placebo effect) is something that you'd be hard pushed to demonstrate definitively. For me personally, neck dimensions are a consideration of playability rather than tone. On the other hand, there's an old episode of the Simpsons where the residents of Springfield are suffering from a flu outbreak and demand a cure. When Doctor Hibbard tells them the only cure is bed rest and anything he gave them would only be a placebo, they simply start demanding that he give them the placebo! If it sounds better to you then by all means chunk away - it's all entirely subjective anyway! (Incidentally, as colour is simply the part of the light color spectrum reflected by an object, does this mean that different colored basses might actually sound different - and do black ones sound darker?)

Love my Squier VM Precision to bits. Always my go to gigging bass over my Fender (Chinese Modern Player rather than MIM though) Jazz.

Is that like a time-travel bass?

[quote name='Bilbo' timestamp='1473591020' post='3131382'] Percy Jones, Jimmy Johnson, Anthony Jackson and a hundred Fodera players all have great 'don't go there' tones. [/quote] That's another good example for me too with the typical Fodera sound. I think Janek Gwizdala for example, has a beautifully pure tone which is perfect for the kind of melodic solo playing he often does but it would be completely lost and out of place in my rock covers band.

[quote name='ezbass' timestamp='1473515007' post='3130922'] I thought that initially, but I don't think it is. Jordan is a bit more partly and white bearded these days IIRC. [/quote] He's certainly a lot more bald!

[quote name='molan' timestamp='1473417435' post='3129989'] I'm about 45-50 minutes each way for rehearsals and gigs are usually about an hour, sometimes 75 mins. Doesn't bother me at all. Get in the car, put some music on, spend an evening with good friends doing something I really enjoy [/quote] Exactly this for me.

I've been listening to Jeff Wayne's War of the World's quite a bit recently and really enjoying Herbie Flowers' tone. In fact it's probably one of my favorite recorded bass tones ever but it's pretty much the complete opposite of the bright, aggressive, brand-new steel roundwound string tone I aim for myself. Just wondered, does anyone else on here have a similar love for another player's sound but wouldn't be heard dead using it themselves?

When I was 16, my band was making a bit of a name for itself in the pubs and clubs around Norfolk. As we were getting fairly well known locally, we were asked by our local youth club to represent them at "an event" which turned out to be the grand finale showcase for that year's national youth week which was held at the LCR venue at the University of East Anglia (about 1500 capacity). We ended up being chosen to headline which was very cool but the thing I was most excited about was standing on the same spot on the stage as Caz Lewis had stood the week before playing with Skunk Anansie. I've played to bigger crowds at festivals and bike rallies since and also in a talent competition which was televised (on Challenge TV dontcha know) but at the time that felt like playing Wembley Stadium to me.

I'm very fortunate that I've never been in a band with a bad drummer. They've ranged from very good to fantastic and that's something I'm very grateful for because I have had the misfortune to jam with a few who weren't so good and it can be pure torture. The worst kind of bad musician to be in a band with though is the nice guy you get along with really well. Sacking them can feel like kicking a puppy but sometimes it's the only option unfortunately .

I have a an EHX Deluxe Bass Big Muff kicking around. The features on it are great with a blend, a gate, pad switch and footswitchable dual filter section all on there. If you could come up with something like that but then actually make it sound good too.....

Got Geezer Butler. Not too bad I guess. Would have preferred John Entwistle though.

[quote name='Lozz196' timestamp='1472478261' post='3121407'] Herebe my gigging rig. Fender 2015 US Standard Precision, Sansamp Bass Driver, Aguilar Tonehammer DI, Aguilar AG500, Barefaced Four10 and Two10. The sarcophagus "guards" either side are in fact CD cabinets and don`t accompany me to the gigs. [attachment=226647:001.JPG] [/quote] Okay, that's just weird!

I had an A6 and it was genuinely lovely to play - probably the easiest bass I've owned to get a really low action from - and the build quality was excellent. The Hipshot bridge was solid but to be honest I actually thought the design was a bit unnecessarily complicated. Ultimately though I didn't fall in love with the pre-amp as much as the rest of the bass and started having GAS for something more traditional so moved it on and bought a Jazz and a Precision. If you like the Bartolini sound though, I genuinely don't think you can buy a better bass for the money.

[quote name='MrDaveTheBass' timestamp='1472566675' post='3122167'] MrsDaveTheBass would like to know what EQ settings you're using! [/quote] LOTS of sub frequencies. There's a scene in Howard Stern's film Private Parts that springs to mind......

Not talking about high value goods admittedly but I bought a 5 string pack of strings from BD's website last week which was the first time I've dealt with them (and my first time trying these particular strings). Unfortunately the E string was dead straight out of the pack - obviously no fault of the shop's - so I phoned to let them know. Spoke to Will who asked me to email it to Mark so they had it in writing to show the supplier and they would send me a replacement. I didn't get a chance to send the email until gone 10:00 that evening but even at that time of night still got an email straight back from Mark to confirm a full new set would be sent to me straight away. I phoned them the next day to say thanks for what I felt was excellent service and spoke to Mark. Wasn't sure what to expect having read through this thread previously but he was friendly, helpful and on hearing I was trying new strings, offered a few suggestions for possible alternatives to try if these didn't suit me.

Precision bass > Palmer Deepressor compressor > EHX Bass Soul Food > (various other effects) > Aguilar AG500 into a pair of Aguilar DB112 cabs both with horn. Sounds big and full but defined in small to medium venues without PA support against 2 Marshall half stacks and a fully mic'd drummer.

LOVE the look of that! A well worn 70s (I don't mind a heavy bass and I think they generally sound lovely) p-bass in sunburst/tort/maple with chrome covers for me is pretty much perfect. Nice to know your bass' history too. Unfortunately I only play 5 strings these days so hoping my humble Squier VM P5 looks something like this in 43 years time.