alexa3020

I do like the sound of the big muff without the dry signal in isolation. I have found with that pedal though that it just gets lost in the live mix of a rock band. it’s sort of similar to scooping your mids - sounds great in isolation, but doesn’t work in a live mix

I’ve heard good things about the billy Sheehan pedal. Even more attractive with the option to blend signals

That’s interesting - These are not overly expensive new, and I’ve seen a few priced well secondhand. Perhaps worth a look I’d prefer a single pedal that does the job as I’m limited for space on my board - and I would prefer to keep using the nano+ if possible Ps the compressor will be updated at some stage - so that may free up some room

I’m currently using big muff pi on bass. I would say I’m fairly happy with the pedal but there is one major issue - the ability to blend in your clean tone. Without clean tone the bass tends to get lost in the mix. there is an option to add your dry signal. It comes in at the same volume as your original signal and you can match fuzz volume to it. This means the signal is too loud. So I’m thinking of a new fuzz pedal. A lot of which don’t have blend controls & im wondering, if I had a better fuzz pedal would it matter so much if there wasn’t a clean blend? Or is a clean blend essential? I’ll be interested to know what you guys think

I use a jptr fx jive really like it with a P Bass I’ll use the valve drive instead with a flat eq with my stingray

Here’s mine for Pbass shape off with a slightly scooped eq and some of the top end cut no valve drive (use an always on pedal for a bit of saturation - works really nicely with a pbass) Compressor and sub harmonic off also. this is just my starting point - it’ll really depend on the room how it ends up

Bought a boss TU3 tuner from Dave. Paid via bank transfer. No problems at all & great guy to deal with

I agree. Plus if you ain’t lugging your stuff on stage, your invariably lugging someone else’s (I.e drummers)

On the plus side, my oc5 came this week after 5 months of waiting

That’s a fine looking rig!

Years ago I had a mag 300 210 combo (and occasionally a 115 mag extension cab), and it was a real struggle to hear myself in a not particularly loud rock band. I have no problems with the Abm 600. My volume is normally around the 9/10 pm mark. I expect the volume problem could be as much to do with the mag speakers as it is the fewer watts the mag head offers

Funnily enough, I didn’t get on with Barefaced 10’s either.

I had the tc bq500 which I assumed was the same as the bh range without the tone print. Although the tone of the amp was ok (although I did end up with a pre amp pedal in front of it), I just couldn’t get on with it at volume and especially in the mix of the band. It just felt wrong. It didn’t sound squashed, but it was like the signal was compressed and the notes didn’t have the same attack & they sustained for way too long. perhaps I was out of headroom - although I’d rarely be past half way on the input and output volume. I’d take an ABM over it any day. I am beginning to think perhaps it was just the tc amp I didn’t like, rather than it was because it was class D though

Class A/B amps for me due to a bad experience with a tc bq 500 class D. it just didn’t feel right at volume and that put me off class D. That said Joe Dart does alright with the little mark head & mb410

You prefer the sound of 2x210 Ashdowns over the ampeg then?

Everyone says you should double up with the same cab, so it’s probably the right move. I’m happy to mix and match though

is that your gigging rig, or are you sticking with the ampeg 212?

The lack of blend knob really is a limitation on big muff pi. And you often are too loud if using the dry mode and switching on /off in the same song. You’ve got to keep that low end in the signal or you just get lost in the mix which means the other 2 modes (normal & bass boost) are pretty much redundant for live performance unless you have a line selector.

I find with onboard compression, you tend to lose a bit of volume. With a pedal at least you can boost your signal. I'm currently using a TC vintage comp - which is a copy of T Rex Comp Nova. I don't use it with My Stingray as that sound a bit compressed already (to my ears anyway), but I do like it with my passive basses. It would be really useful if all pedal compressors came with light indicators, so you can see what's happening. I can only think of the Cali 76 (big one) and MXR Bass compressor that has this functionality.

You get a lot of amp for your money with second hand Ashdown. I guess people just want lightweight. I see an 810 going on Facebook for silly money.

I didn't think you were suppose tilt cabs of the floor - something to do with floor coupling?? Can someone with technical knowledge enlighten me please? Edit - I can see from a bit of googling, I've got that completely the wrong way round!

Nothing wrong with Harley Benton, I’m quite interested in their bass block 800 as a backup. However, I do think if you have the money, an expensive bass 2nd hand is a better investment than a cheap bass.

There’s a big tonal difference between a ebmm stingray & us fender p bass (which happen to be the basses I play) But not a huge difference between an ebmm & sterling stingray or us fender p & squier p - I would imagine only the player & maybe a recording engineer might notice. so I don’t think “bass is bass” is correct. It’s all about tones we’ve heard and enjoyed listening to music. If we apply that to other instruments, i think I could only tell the difference between guitar tone -I.e les paul or strat. Any other instrument, I wouldn’t have a clue.

Nope evo 2 - same as my 15s

I’ve got one, only practiced with it so far, but sounds good and keeps up with the drummer. I think I’ll stick with my 2 x 15 compact cabs. Way lighter and I like 15s