Al Krow

You're getting old and wise eh Cam? 😉 Having also had the 735A, my sense is that if you played a set of Yammy BBs (passively in the case of the 734A/5A) you would find that they all sounded much closer to each other than any of them do to a Fender P

Ah funny - bit Chinese whispers! Reading your post quickly on the my phone the other day, I'd read your comment along the lines of "5imon said 2:1 was a bit low", rather than being a query; at which point it became gospel truth. Lol! Becos Stella is gonna be home board only for me for a while matey, while I get up to speed on it. Believe me, if I can't learn to hear nuances of bass tone from compression when it's just me, there is no way on God's earth I'm going to be able to hear any pedal board compression differences in a full band mix with ear plugs in. But that particular long held viewpoint from me, is not news! But 5imon was right when he was enthusing about the Stella as a great comp to learn on (plus his immediately preceding post back in April). At least I listened to him, for once, on that! And I've got 3 weeks...

Are you sure that is correct dB? My P35 sounds pretty close to my BB1025 and certainly when @dave_bass5 was over we both felt that the 1025 was the slightly 'flatter' of the two and closer to what might be thought of as a traditional P bass sound. And certainly flatter / more P bass-like still is the BB425 which I've previously had and Dave still owns.

Thanks fella. Was going to ask you whether the fact that I seem to be marginally preferring a hard knee to a soft knee is just 'in my head' or whether there is actually a good basis for this - maybe something as simple as it being a more clear cut impact, particularly at the low compression ratios I'm using?

No, please, do get started! 😀

Did you mean "majority"? That sounds great - take it you're a Stoke lad? Agreed - they certainly got a thumbs up from me. Heather Baron-Gracie does like f'king swearing a lot on stage though doesn't she?! Probably trying to cover up the fact that she has a double-barrelled surname and is no longer up the Creek.

Fair enough I've been told that Stoke is actually a collection of towns with no city centre who all hate each other...I can see why (the lying toads) would want to say they were from Manchester 😁

Well it's clearly not to recommend the Squier PJs is it? 😂 😀

I think the consensus is that the Yammy BB's have their 'own take' on the P bass sound and a lot of Yammy owners prefer it to the original Fender P sound; which is part of the reason I guess why we have gone for a Yammy rather than a Squier P or a Fender P. Further differentiated by the PJ config on the Yammys and the much liked PJ setting used by a lot of Yammy players in preference to either a solo'd P or solo'd J. I've updated the OP with a table showing a comparison between the 234/5, 434/5 and 734A/5A for ease of reference, which is particularly for anyone thinking about getting a 3 series Yammy BB.

Good man. It's actually not an outrageous price they're asking and seems to be a lot of bass for the money. Certainly not compared to some of the Spectors I'm currently having my head turned by! You tempted / thinking of getting / had previous good experience of Jacksons? With you on the pointy headstock. The last bass of mine to have one of those was actually my first ever bass and obviously I was excused as I didn't know any better and also 'cos it had actually been bought by Mrs Krow 15 years before when she was having a little dabble on bass and I was still pretending to be a six string guitarist... 😁

Andy - interesting. So based on that would give a different poll answer to the rest who have expressed a vote?

Thanks - your earlier comment about 2:1 comp ratio being generally too low for bass seems to have either disappeared from the thread, or was never there in the first place! I'll go back and amend the update to my earlier post about what settings I have this on.

Good stuff Darren - I'm finally starting to appreciate the value of your ES8! Although, in my case, I'd need to have off board given its size which could make connecting up an ES8 interesting! Which pedals do you particularly find benefit from being in parallel?

Interestingly the retailer has recently offered this bass at decent discount, which is kinda what got my attention in the first place; but with no explanation as to why it was being discounted. The age of the bass only came out of the woodwork when I asked them directly what the year of manufacture was, but maybe that needs to be a 'stock' question (excuse the pun) when we're buying 'new' basses in future? I'm guessing that there is more 'new old stock' in both physical and online stores than we perhaps realise? I completely agree that trying to pass this off as anything other than a 2015 bass to a fellow bassist when reselling wouldn't be the right thing to do. Not sure whether that can be squared with saying "I bought this new in 2019", which would also, however, be true. I guess you just give full disclosure of both?

@TRBboy - that is sweet! Looking forward to a 'before and after' pic when you've put through your mods. You about to become the next BB AndyT?

I'm in conversation with a retailer about one of their basses and turns out that this 'new' model was made in 2015 but only obtained by them from their supplier in 2018, when it will likely have been available to try out in-store. If you were buying a bass (and maybe at a later date selling it on), what would you be thinking of / saying as the 'correct age' of the bass?

Nice explanation of the Tri Parallel Mixer at 1.40 in the attached and bass demo starts at 2.40. @stewblack - seems to me you've got yourself a really good bit of kit here!

Totally agree with the first point - if you're creating your synth sound with the traditional octave --> (poss gated) fuzz --> filter then you need these in series. If you have an actual synth pedal or looking for your octave to track well then these pedals IMO are going to need as much clean signal as possible and would be ideal candidates for parallel looping. Filters, on the other hand, seem work best by having the most complex wave-forms to be acting on. I'm kinda landing on: Initial in-series BASS --> hpf --> comp --> In parallel loops - Synth - Dirt - Octave Final in-series --> filter --> modulation & delay --> AMP Does that make sense?

Fair. Fair enough to be blonde, in fact. Not sure she was ever a serial killer though?

Mucking about on Stomp defo sounds like a good idea! Although given it's all being simulated not sure how good a reflection of what be would happenning with actual dedicated pedals? So still keen to hear about folk's actual parallel set ups / use of loops on their own boards, (particularly as I won't be ditching all my pedals for the Stomp, unless it's able to match what they can do).

I'm particularly interested in what parallel set ups folk are using with their pedals (if they have gone down the parallel route) and what improvements in sound they are getting by going parallel over keeping things in series.

The piece of kit that @stewblack has recently got, looks really neat, compact, won't break the bank and has ease of live use with stomp buttons.

Excellent TB'er review of the Becos Stella: https://www.talkbass.com/threads/testing-compressors-cali-smoothie-empress-diamond-keeley-fea-darkglass-doc-lloyd-jhs-more.1345638/page-88#post-22491233

Classic series pedal board order Shared this another forum, but reposting in case it's of interest to folk here. There won't be a single 'right' answer, but the general order I try to follow is : Like to have as much clean to bite on so place at / near the start: BASS --> Tuner --> HPF --> Compressor --> Octave --> Mid board: Synths --> Distortion (drive / fuzz) --> Better with something complex to bite on: Filter (for funk) --> Want to act on the whole of your 'effected' signal: Modulation (chorus / flange / phaser) --> Delay / Reverb --> Preamp(s) --> AMP Parallel routing does potentially offer a whole bunch of additional flexibility.

Cheers! Anderton's reviews are not bad, but don't always get it right e.g. describe the Korean Legend as 'neck through' when it's a set neck (so Mangotango you're completely justified in getting this mixed up, when the retailers who should know better get it wrong!) Here is said video in case of wider interest. They deal with my very question (at 6.40) with regard to the pups - Aggies more rounded / versatile; EMG's have the 'Spector Tone' and more punch particularly at treble end. I'm definitely leaning to PJ Euro LX with EMGs (10.35) over the Legend with its Aggies (8.10), but how much of that is down to PJ vs whatever soapbar setting they had on the Aggies (likely to be single J or dual coil humbucker). Be interesting to see if folk agree? Amusing that they were using a MB LM3 and DG M900 heads respectively, simply 'cos these have been my gigging amp heads to date.