Osiris

48K with rubber keys, FTW I love the SanSamp sound but always found them to be way too compressed for my tastes so I could never make them work for me, unfortunately. As you say @Lozz196, the pedal is already adding a load of squash to the sound so adding yet more via another pedal is going to hammer the life out of your dynamics.

Yes, I use one all the time and consider it an essential part of my sound. My current band plays a mixture of everything from 60's to contemporary rock and pop. I mostly play with fingers and occasionally a spectrum.

That's my usual response, but I seem to be experiencing a brief moment of diplomacy and tact. Normal service will no doubt resume shortly.

Try speaking to the rest of the band and see if you can get a reasoned response and compromise situation. If you can then all ought to work out fine in the long run even if you're annoyed at the minute. But if you don't get a reasonable response or a compromise situation that you are happy with it might be wise to consider your long term commitment to the band. Having been in bands with people like in the past, also guitarists oddly enough, I know exactly how you feel. Assuming he's anything like the guys in question I've had the misfortune to play with then things will almost certainly crash and burn sooner or later. So it might be better to cut your losses and walk now, particularly if they're unwilling to compromise.

The Filter Feeder.

Sandberg bridges allow you to adjust the string spacing so it might be possible to squeeze the strings tighter together to find something that works for you?

Another vote for Rickenbacker. I tried a mates 4001 and much as I like the style and love the tone, the neck was horrendous. I just couldn't play it. No idea what it was exactly other than being a bit chunky for my tastes but it felt like it was the first time I'd ever picked a bass up. And a MusicMan Stingray. Another chunky neck and that trademark nasal sound just grated on me. No matter how I adjusted my technique and eq'd it was just that nasal rasp. Yuk. Not to mention it was really heavy too.

According to the specs the Barefaced cab in question is capable of producing the fundamentals that you are referring too. But as @Skol303 and @Jus Lukin have already said, the sound that a speaker outputs is not linear across its quoted frequency range. In other words while there will be some of that 30Hz frequency in the sound, if you play an open B string through the BF cab, that part of the sound spectrum is much quieter than the higher harmonics and therefore we do not hear it so well. But it is still there. In order to hear the fundamentals clearly you have deliberately EQ it to sound that way. And for most of us that is not something that we want. Plus you'll almost certainly need a club sized PA to crack it up to any significant volume. And as @Muzz says, that has nothing to do with Barefaced. Or any other cab capable of handling 30-40Hz. NOTHING WHATSOEVER. A speaker will put out what you feed into it - within the limits of its own inherent abilities and voicing. Most guys prefer to attenuate these super lows as it reduces mud - which in turn increases clarity - of the lower notes. But if you feel that this will have a detrimental affect on your own sound then don't do it. OK, so here's a little test you can do at home with the gear you already own as a little practical experience may help to explain what this thread seemingly cannot. It's not particularly scientific or absolute but should hopefully give you an indication of why the fundamentals in question are not overly sonically useful; Take your Mark Bass combo and eq it as follows; Bass at maximum, low and high mids and treble at minimum. The mid scoop (VPF?) Should be at minimum too. You can also try running the vintage speaker emulator (VLE?) at maximum as that also reduces the higher end. With the bass eq centred at 40Hz and boosted as much as possible (usually around 12db) and everything else cut as much as possible you have a crude approximation of the fundamentals in question. Next set up a patch on your Zoom B3n using the parametric eq to boost at 30Hz with a narrow Q. Boost this to the same degree as the bass eq on the amp, around 12db. Plug this into the front end of the combo. Next plug in a 5 string bass through the Zoom. If it's passive roll the tone control right off. Better still use an active bass and completely cut the treble (and mids if you have them) on the on board pre-amp. Experiment with the bass eq by starting at the centre position and boosting (but not cutting it). Now play the lowest notes on the B string. How does it sound? Now try turning the combo up so the sound is of a comparable volume to that which you gig at. This will require running the master volume much higher to get these lower tones to the same perceivable volume, if indeed it is possible with that particular combo. Assuming that the combo, and indeed the contents of your colon, do not liquify in the process, ask yourself if the sound you are hearing will make you and your band sound better if you were to add it to your existing tone. If you think that it will then start looking into expanding your bass rig to include a sub or 2. But most importantly of all, report back here with your findings.

Just bought a pedal from Josh and it was a great, hassle free transaction. The pedal was in great condition as he'd described it. He wasn't able to post the pedal for a couple of days but he had messaged me to explain the situation and then kept me updated with what was happening and the tracking details which I really appreciated. Great guy to deal with, great communication too. Cheers Josh!

Didn't you say that you have a Vanderkley 210LNT cab? According to the specs on their website, it only goes down as low as 40 Hz. So how do you hear any notes lower than an E flat ??? And what exactly do you think you are gaining from allowing the frequencies between 20 and 40 Hz through to your cab by not HPF'ing them, when the cab itself is incapable of reproducing them? I'm a bit confused.

Cheers @Thunderbird. Wouldn't wax make the neck sticky though?

I've just picked up a cheap and cheerful Ibanez short scale that is virtually new and may or may not have an unfinished neck (there are conflicting opinions on TalkBass) so would something like Danish oil or Tru oil also be just the ticket to give the neck on it a quick going over?

Can you pick me up on the way, please?

Oh sweet baby Jesus NO. Just no. Do not get @Al Krow going on compressors again

And the 100 Hz figure is not set in stone either. When using my single 1x12 cab, I find that a cut around 60 Hz works wonders, especially when stacked with the HPF in my amp which has a steep slope set at 30Hz. The cab seems to 'breathe' more easily and the sound is subtly but noticeably clearer and punchier.

I think there's some confusion over cutting the lower frequencies. No-one is saying incompletely remove every last trace of them at least as far as I understand it) but do attenuate them as they are not helpful to your sound. See the post from @EBS_freak above who explains what's going on.

@Frank Blank Any sign of your SWB Pro yet? I'm keen to hear your thought on it as and when it arrives. Having not played a short scale for decades I borrowed an Ibanez Talman short scale from a friend and gigged it at the weekend. OK, so it's an inexpensive bass, but it's well made and plays great, just so much less of an effort compared to 34" scale that I'm used to. So I now have a serious itch for something a little more luxurious (don't get me wrong, the Talman is still a great fun bass to play) and the SWB is the top of my list. I'm now officially a fan of short scales

My guess is that much of this is down to the inherent voicing of the amp(s). If you play through several different amps, all with the EQ set flat, there is still a huge variety in sounds between them. There's no consensus among manufacturers as to what flat actually sounds like. Some are voiced more than others. For example, I have a little 30 watt Marshall bass combo that I use for messing about at home and the flat tone has a massive hole in the mid range to give you that cool sounding scooped sound. But I find I then have to EQ the hell out of it (including the on board and an external pre-amp) to get some critical mids back in to the sound for it to be useful. Are you using the same amp in both situations? Also the change in volume is likely having an effect too as few amps sound the same at in house levels as they do when cranked up. As @deepbass5 says, the room is also a significant factor. And as @skankdelvar * wisely points out, cut the low end (even if it seems counter intuitive, but it really works) and push the low mids to fill out the bass sound. Adjust the upper mids and treble to the sound you want and go from there. * Mine's a large Blue Nun, old boy.

I've also had the pleasure to have a play through @Opticaleye's Quilter bass block and can confirm that it is indeed a great amp and surprisingly versatile given its ostensibly simple tone stack.

The mighty Genzler Magellan 800 ought to meet your needs (although it only goes down to 2.67 ohms, which I believe is suitable for three 8 ohm cabs, or maybe one 4 ohm and one 8 ohm together). Very clean sounding with a huge weight and size to the tone, and a very simple pre-amp that can does everything from vintage mid-rich warmth to scooped mid tones. More of my thoughts and experience with it here -

And here it is; In short, I thought the Mesa was a superb amp, bags of power and a really aggressive tone (possibly more so than you're looking for?) But I felt I was having to work against it to keep it under control and to stop it getting out of hand. https://www.basschat.co.uk/topic/303884-amp-test-drive-aguilar-darkglass-genzler-and-mesa-boogie/

I moved to the Genzlers from a TCE RH450 but I'm not sure how similar that sounds compared to your BH550. I loved the warmth and retro voicing of the RH450 and could get a similar - albeit much smoother and somehow 'bigger' retro tone - from the Magellan 800. But what has really impressed over the past year or more of gigging it is the weight, clarity, depth and articulation of the clean channel to the point that what it's now my go-to sound instead of a the more vintage bass tone that I've been using for the past 30 years. If you have a Spectracomp check out the Muscle Comp tone print if you haven't already. That adds a massive punch to your sound. Are you using ear plugs when you play? If you're playing at even modest volumes with a drummer (or anyone else making a significant row) without any from of ear protection my guess is that its ear fatigue that's the cause of the apparent dampening of attack that you perceive. Do your ears ring after a gig/rehearsal? If they are ringing it's ear fatigue caused by the volume - and you don't need to be playing flat out either to cause it. Try some ear plugs if you're not already using them and see if they help.