dodge_bass

Nice one Norm.

My immediate thought as well!

I think this might be the first time in my life someone has called me a genius. No doubt it will be the last. But that's fine. Once in a lifetime is enough for me Yeah, the first set I had were see through - hard to find when dropped and I was always struggling to figure out which ear they would go in. So second time round went for coloured. The open mouth thing though when getting the moulds is genius - I've noted with my actual in ears that the fit is better when I open my mouth - makes for a long gig with lots of drool if I keep my mouth open though....if I ever get any more made I'll be sure to do that.

Even better get different coloured ones - I got Red for Right so I can easily grab them on a dark, noisy stage and stick them in & no faffing around trying to figure out which is left and right. Strings is a brill idea too. Overall ACS plugs via Musicians Health. They are brill. Job done!

The Three Leaf Octabreve and the OC2 are both killer octave pedals. Search over! Source Audio C4 is insane as a synth pedal. Search over! Empress Compressor is brill for bass. Search over! There’s still a few pedals to try out but basically my pedal GAS is currently at an all time low.

No. Only the OC2 & Groove Regulator. Without the FX loop the signal chain is bass -> thumpinator -> compressor -> Nobel Compressor just operates lightly when playing clean and when FX loop activated it gets pushed a little harder. Thumpinator really clears up bottom end especially when OC2 on and ensures compressor isn’t being pushed too hard.

Yeah. Something I’ve been experimenting with recently. Works really well

Funny enough I do exactly the same thing here (but just on the bass) at about 4mins - rising arco bass line which turns into bit crusher - maybe she heard this before they finished producing her track! https://havband.bandcamp.com/track/slangpolska-rakkaus-on-lepo

Yes that's lovely - reducing the sample rate slowly. Sounds killer.

I don't know if I ever posted my main pedal board on here but here it is. Dual input with FX loop and tuner out mute courtesy of the Bright Onions looper and all power by the Noble DI. Sounds great, in a 70's funk / soul kind of way if you like that kind of thing

Well it’s the keyboard player / singer from Dirty Loops....so that might be why. It’s kind of Dirty Loops Lite isn’t it?!

Howard - Bass Doc. PM me if you need his deets.

I’ve got a transcription somewhere - drop me a PM

Yes the Nobel is ace for sure but given its costs (it’s crept up a fair bit since I got mine) I didn’t mention it. I absolutely love it and it works great for the type of stuff I record (funk / soul / rare groove).

Might be personal preference that - I run my HPF BEFORE the compressor so I'm not pushing the comp more then it needs to be pushed. Works for me as I'm sure yours works for you. @bob_atherton try both ways and see what happens to your sound and which you prefer would be my advice.

It’s a really interesting topic. As a player / teacher / educator I’ve never known anyone who didn’t benefit from learning to read. Not just reading the actual dots on a gig but all the musical skills that come with it (understanding rhythms / time sigs / harmony / stylistic approaches etc). And I’ve never known anyone feel hard done by when working on their ability to play by ear. Developing both these skills to a high level is hard but really important and the division / dichotomy between them is false. They’re not in opposition but complimentary, it’s just that they’re not often taught (or developed) in conjunction with eachother. I read really well. It’s opened so many doors for me as a player. But I’ve also worked on developing my ear because that also really helps as well with transcription and with creating original music. I also make all my pupils learn to read whether they intend to do reading gigs or not because it strengthens their general musicianship no end....and you never know when it might come in handy! My work as a player has moved from original work (no reading) to lots of reading work (theatre / orchestral / function gigs) now back into lots of original music with little reading....careers change and develop and having both skills is never going to be an impediment o your playing. @ped makes a great point about big band charts where you might be expected to read notated figures, improvise bass lines on the spot and read / ignore written parts in favour of creating something yourself. Essentially using all these skills side by side.