Al Krow

So 30% for gear and 70% for technique? Actually that sounds about right

Cheers Dan - and don't get me wrong. PJB are an awesome brand! Are you needing to use all three PJB 4s to get a full sound from your AG700 or do you typically use two?

But you haven't had to choose between a top quality 5 or 8 and a rank 10 or 12 have you? You are fortunate to have the option of choosing the best of both. And guess what? You went for...a 2x12" And that was because there isn't a 5 or 8 that delivered anything comparable in terms of power handling, weight, frequency response. The same point is true for most of us, methinks - which is why 5" speakers are not what everyone is rushing out to buy and gig with. Ok I think we've both said our piece Back to sub-woofers and whether they can add something...

+1^^ That short statement captures it all. Bravo Chris. (Although a decent cab has got to be 10% by itself, right? So maybe fair to give our gear a bit more of the equation, but that's just quibbling at the margin!)

Well actually if he did say that, it would be case closed. But is there a cab with 5" speakers (have as many as you want) that approximately weighs the same and can handle the same watts and provides a similar or better frequency response range as that VK 210LNT made by ANYONE? ...I thought not. So it seems to me that there's a very good reason that 10" and 12" speakers have become favoured industry standard (and not 5", or indeed 18", speakers). They would appear to provide the best combination of weight, power handling and frequency response. Both manufacturers and bass players have voted with their feet and wallets on this.

Let us know how you get on P-J. The horn body shape does look really good. I very recently had the opportunity to buy a used custom bass - story behind it is that its current owner realised very shortly after getting it that was not something he could bond with. What a shame. He's got it up for sale for only half of he paid for it and it's less than a year old. It's a lovely looking bass and the finish is superb. But having tried it out and been very tempted by the look and the discount I left thinking that, in terms of everything I'm looking for, my Yamaha BB NE2 was a much better bass for me. In addition, having bought my Yammy used, I have the security of knowing I could move it on for a similar or better price to what I paid for it. I actually left feeling very chastened about the need to make sure you know exactly what you want and are going to be getting from your custom bass.

Not in dispute. But how many 5" speakers have you got in your PJB cab, how much does it weigh, what total watts can they handle and what is their frequency response range? For reference my VK 210LNT two 10" speakers 44 lbs 1200W AES (= approx. similar RMS) 40Hz to 16KHz

This new bigger pedal is starting to venture dangerously into the "too many choices" for us simple one knob compressor users, I'm gonna need leave the floor on this one for you 'sperts to drool over

Aha so that wasn't you being just trying to be funny about the greater girth of this new pedal then! 😎

Ok happy to admit I'm an ignoramus, but...what the heck is 'tape saturation' and 'tilt EQ' and why should we want it?!

I think most musicians would agree. But it wasn't the cover version that made the song famous. In fact if Buckley hadn't died his version might well have disappeared with a trace. The cover that actually had the biggest commercial impact on the song was by Wainwright / Cale in 2001 as part of the film Shrek. It's terrible in comparison to the Buckley version! "It was on the strength of Wainwright's and Cale's renditions that "Hallelujah" truly became a phenomenon—six-year-old kids were suddenly singing "Hallelujah," and adults came to know it as the song from Shrek."

It's kinda interesting the contrast you draw there. As neither would claim to have the world's best vocals. I suspect we'd all agree that one was amongst the best writers of lyrics and the other very possibly the best guitarist ever. But I agree with you: as an example for me, one of the most beautiful love songs ever written was 'Make you feel my love' by Dylan. The lyrics are perfect. But it was only when a 19 year old graduate of a Croydon school for performing arts recorded it, that I really sat up and took note of the song and had a 'wow!' moment. Just checked, she's had a 157 million YouTube views for just one version of her cover.

That was an absolutely beautiful cover by Eva before her untimely death. However, Sting's original was, for me, equally good if not better.

IMHO you've just articulated the second part of what great pedal-board effects are all about: inspiring that creative spark through interesting soundscapes. (The first being, of course, to hit our live audiences with funk and dirt to make their experiences of our gigs that much better!)

Oh dear, another one bites the dust 😂 Enjoy - pretty hard not to

@ordep - looking forward to getting your review!

You've also very modestly left out that you have one of the best male vocals of any bass player I know!

Some very good shouts there! And also a couple that I need to go away and listen to Have to admit one of the things I really love about these threads is my ears getting treated to some great music I should be, but am not yet, familiar with!

Tbf I don't think any bass pedal is necessary. They are a 'nice to have' and can be a lot of creative fun. But I've happily gigged with bass-->lead-->amp and cab for several years and it's been just fine

I agree with Cam that the Stomp has the potential to replace a bunch of pedals on both our boards. But in response to your Q as to who is currently using a Stomp live with a bass rig, I presume you mean in the mix with their band, right? If so, Cam's and my use is 'bedroom' only at this stage (Cam please jump in if I have this wrong in your case). Although unlike my B3n, which only ever was for home use with me, I've got every intention of gigging my Stomp when I'm up to speed with it.

Ah, you just bought the DB 751 in the FS? How are you finding it and what did you have before? Half of me is very jealous: my ears hate you; my back informs me it doesn't

And their version was better than Gloria's right? She was a self confessed virgin when she sang the song and could never quite 'feel' it, whereas Marc Almond had no such issues!

Just seen an interesting documentary, that was originally released back in 2015, so I suspect a bunch of you will already have seen it: "The Joy of the cover" on iPlayer. What kinda surprised me more than anything was the Leonard Cohen's 'Hallelujah' only charted after Alexandra Burke took her cover version of his (wonderful) song to #1. I'm guessing that's not going to be the only example? So for those of us in covers bands (plus any other folk on BC who happen to like listening to music!): - any other examples of covers 'making' the original or doing something to the original that completely made it their own in a good way? Hopefully that's a sufficiently soft sell for this thread...

Tom there are lot of options besides the 30 year old (but still classic) OC2, with lots of different sounds and flavours. If you're after an OC2 then a modern very good and close take on it is the Valeton OC-10 (more compact and half the price new of used OC2s) Other popular models are the: Value end TC Sub'n'up and mini More expensive Cog T16, MXR Bass Octave Deluxe, Aguilar Octamizer, 3 Leaf Octabvre and mini There's a bit of a mega thread running in parallel to this one: The other issue to get your head around is whether you want to go for an analogue (generally more authentic tone and minimal latency) or digital - typically able to track lower. Plus what sort of tone you're after from your octaver e.g. classic OC2 or something more modern / different.