Dood

I've not met Andy in person yet! He was once at LBGS when I was performing on a stand and thus I never had the opportunity to catch up, but we have "spoken" many-a-time online. Diamond guy! I'd also love to meet Carey Nordstrand too.

Which seems a little odd. A flat board and a radius on the pickup would have the poles further away from the string at the E and G positions. If the board were more radiused and the pickup was dead flat, that would indeed yield the issues you speak of. In the latter case I would certainly look at either a radiused poled pickup or one with adjustable poles as an alternative. I know Carvin do them (Kiesel use them in the custom basses) and funnily Ibanez have used radiused pickups too! Hmm, maybe Nordstrand do radiused pickup poles too, I'd have to check.

The only amplifier I can think of that has 4 bands or Parametric EQ (that in this case has a width control for each band) is the Bergantino B|Amp. It also has an adjustable HPF and (for the acoustic player) a feedback filter too.* No surprises really that it is my all time favourite amplifier. *And a compressor. And three types of drive. and a switchable effects loop. All controlled by a wireless pedal.

I was trying to describe that to my 5 year old daughter only this week as the song has been used on a program she likes. She just looked at my baffled, "Why Daddy? Why?"

To the FAMOUS QUOTES thread the lot of you! This is BassChat at it's very best! You have brightened up my day no end!!

I think it might well be!

Hmmmmm, it’s all sounding just a bit tooo familiar...

Jon Shuker also made me a body for an awesome Fender CIJ neck I had. It had the most amazing tone both acoustically and plugged in. Very pleased.

Spock’s Beard - V

Karnivool - Sound Awake

I’ll do my best! “Gated Fuzz” is probably my favourite. By adjusting the bias on one of the transistors, it’s possible to get that almost instantaneous cut off of the instrument’s note. I.e it becomes “gated” rather than a smooth sustain. Like lifting the key on a synth. So, in our attempts to make our bass sound more like a synth, this in conjunction with say an OC2 (100% wet) and an envelope filter will drastically change the tone of a stringed instrument.

Chris Cross will make ya, Jump! Jump! *wrong forum... lol

P.s. OBBM custom cables are brilliant! Very useful when you need “odd” IEM wiring for example!

That’s a real shame. I too had to contact @Daddario_Uk regarding my first cable failure. It had been used every day for 10 years and I later discovered it was on stage with me in 2000! I have piles of cables all from D’Addario / Planet Waves too. Gosh, I hope all mine don’t go the same way 😂😂😂😂😂😂 I am of course joshing you. Sorry to hear you’ve encountered such problems. How are you storing them? @D’AddarioUK

Back in the gaaaaaaaaaame!!!

Refer also the reply in the Trickfish Power Ratings thread. You may as well just ignore the figures the marketing dept give. In reality, there’s not a huge difference in volume between a like-for-like 300 and 500W Amp anyway.

I can tell you that up loud, all sorts of music sounds really good through a pair of BB2 cabinets.

Am I right in reading that in stomp mode, you only actually have two buttons to turn effects on and off, leaving the third as Tap Tempo and Tuner access?

YES! That groove is totally him! We played together with guitarist Andy James for years. The sound was just crushing, but always had that 'swagger' which suited the style of music we were doing at the time. I loved that band actually - though I am not proud of saying this, more than once a headline band split up after we supported them. Those guys made me work hard as a bassist and I think we managed to deliver the goods.

Hopefully.. I hope that my comment came across that it encompassed that too, yup, I agree. You don't have to be "playing together" to "lock in". You don't even need to actually be playing.

I believe that is what I paid for mine too, I half expected to be clobbered for customs and excise but didn't.

Total whim yes! I've been so busy these last couple of weeks, it ad literally been switched on once! GUH! So I'll be hanging on to it until I can try it with a band... but, don't forget.. Line 6 Stomp has appeared.. I feel sorry for the pedals that finally made it ON to my mini board!

It is yes.

Yes, other than the knob thing, I didn't detect any differences in them tonally.

Sometimes, it's just getting the drummer to lock in with something... anything.. 😂 I jest of course. I feel very lucky to work with some incredible kit technicians who have an understanding of what is needed in the song or part. For me, locking in is about understanding first and foremost. Even before you think about the notes to play. Understand mutually what your roles within the song or piece is. Here's a great example: Often, those who dislike the genre whilst listening to Jazz think that drum solos are frenetic. However, with a bit of understanding, you can recognise the change of role in the band situation, it's easier to hear that the pulse is being held down elsewhere. Often, say the bassist will be holding it together rather than "the traditional role" of the drummer. The drummer could be laying down some crazy polyrhythms or displacing the groove such that to the uninitiated it "sounds wrong". The bassist knows where the ONE is and the drummer is probably relying on said person to remain rock solid. Understanding is the larger part of doing.