Osiris

I've tried the big one but wasn't sure of it at first when used to try and add a bit more gain to an already driven channel, but when used on a clean channel it adds a great low gain edge with some basic eq options thrown in. It sounded particularly good with the mid boost engaged to make a tone that would work well in the mix. But even at full gain it is still fairly a subtle overdrive, but I think it is more usable in a band situation than most other drive pedals because of that.

@Cuzzie you know as well as everyone else on Basschat that now @Al Krow has publicly slated the Tech 21 dUg pedal that it is only a matter of time before he buys one and starts singing its praises. You've only got to look at his recent monumental U turn on all things DarkGlass

Some of the Tone Prints for the SpectraComp can add colour, but there are plenty of transparent ones too, so you get to choose which ever suits you best. The default tone print that comes with the pedal wasn't very exciting to my ear but once you start experimenting you'll soon find what you're looking for. I previously had a TC RH450 amp with SpectraComp and if anything I find the pedal to be an improvement in terms of performance and sound. Personally I don't mind the lack of metering, I prefer to use my ears to find the compression sweet spot. As for having different patches for different basses, I tend to just use my favourite tone print (Muscle Comp) with all my basses, a small nudge of the control knob either way is enough to adjust to different outputs from different instruments.

I have 5 different basses, some active, some passive and the SpectraComp is happy with all of them

Best is subjective so it'll come down to the one that does what you want it to do and gives you the sound you want My personal recommendation for infinite flexibility, versatility and a superb compressor in its own right would be the TC Electronics SpectraComp.

I hadn't even noticed those, just goes to show what I know

I use 3 fingers to play galloping lines, the index, middle and ring fingers. It takes a wile to get the ring finger playing well with the others but as with anything, keep working on it and you'll to grips with it. A good tune to practice this that has a slow-ish galloping bass line is Don't You Forget About Me by Simple Minds. Incidentally, my band also plays All These Things That I've Done by The Killers but I've never noticed the bass galloping, or is that just your own twist on the bass line?

Exclusively 4's for me these days. I did flirt with 5's a few years ago but found that I didn't really venture below the low D so I moved back to 4's. Not having the biggest hands in the world, I find the smaller necks of most 4's to be more comfortable too.

It sounds as though it's your MIM jazz that is the weak link and not your rig. If you want to keep the jazz maybe consider swapping the pickups for some that have more low end perhaps? As for getting a good sound, I think the secret is to keep things as simple as you can. The less there is in your signal chain the quicker and easier it is to get the sound you want. More complex signal chains have more variables that can have an impact on your tone. Less is more in my experience. What works constantly well for me is the bass with a touch of compression straight into the amp. Try to avoid any radical eq settings too, keeping the eq relatively flat may not always sound that exciting when it's just the bass in isolation but it'll work with the rest of the band.

I've not had any experience of custom made ones but I can confirm that the Alpines have been very comfortable and never caused me any issues over the past couple of years

At the cheaper end of the market, I've used Docs pro-plugs in the past and used to swear by them but the last set I bought a couple of years ago were made of a much harder material that made them really uncomfortable so I returned them for a refund. But the last couple of years I've used the Apline MusicSafe Pro plugs, they come with 3 different filters that you can swap out to change the level of attenuation and you get a spare plug too just in case you lose one! They'e a little bit fiddly to fit as you have to use a special little plastic stick thing (included in the box) but they are very comfortable and do a cracking job. I use the mid level filters (I think they're the silver ones) and they are great for keeping everything under control with my occasionally noisy 5 piece band with drums, keys and guitar.

Just received a Sansamp from Jim and it was a pleasure to deal with him. Fast and helpful communication all the way, keeping me up to date with the progress from his end. He posted the pedal off really quickly and it was well packaged and in great condition as he'd listed it. Happy days. A big Basschat thumbs up from me, Cheers Jim

Oooh, a spare compressor, now there's a thought.....

I'm looking for a new paperweight for my board. Must be true bypass and transparent. Any suggestions?

I picked up a used FuzzDog Juicy Blue earlier in the year from the BC classifieds and can confirm that it is a thing of pure brilliance. No idea how it compares to the real thing but it's still a great pedal in its own right. Mine, as far as I know, is the stock boutique version and while it is a little dark sounding I actually prefer it to a shrill drive sound. Do the mods brighten it up significantly or does it still retain some of its dark charm?

I've been gigging regularly for 30 odd years now and in that time I have had a couple of incidents of amp failure on a gig; it was the same amp that was first repaired under warranty and then later had another issue with the power switch cutting out. In addition to regular pub gigs my band does some private work too, parties weddings etc. so I feel it a professional obligation to be able to get through the night regardless of any technical issues. That being the case I always carry a spare amp, usually a spare bass, always spare stings, cables, fuses etc. Pretty much a spare everything other than a cab, but on the above occasions I was able to plug directly into the desk/PA to get through the night so I could limp my way through the gig without one. Some people might consider this to be a bit over the top but the way I see it is that if you're being paid to perform, whether it is in a pub or at somebody's wedding, you need to be able to deliver the music.

I tend to play open strings as often as I can depending on the song and the position of my left hand on the neck. But I have nerve damage in my left arm so the fewer fretted notes I can play the less fatigued my left hand becomes. Needs must and all that.

For me it's got to be this. Great intro but once it gets going the rest of the song seems a bit flat in comparison.

I've just plugged a bass (via a pre-amp) into the Magellan 350 aux input and can confirm that it is indeed controlled by the master volume. Is that what you're hoping it would do?

If that is indeed the case then I can see the logic behind the choice even if I'm not a fan of the name myself I guess it's more memorable than the usual mix of acronyms and numbers.

You're right, there's no fx loop on the 350, only an aux in. I don't use fx loops so I hadn't even noticed! As to whether it is controlled by the master volume I don't know, I'll try and have a look over the weekend if I get a chance.

I've only ever gigged mine with my 4 ohm 2x12 but even in the rehearsal room with my 8 ohm 1x12 it has never lacked for volume, and that's with a 5 piece band including drums, keys and guitar. I guess it depends on the situation you want to use it in? Unless you're doing anything at extreme volume I think it ought to fine particularly with a Barefaced cab which are notoriously efficient.

Likewise, Bass Grooves is also well thought and easy to understand. If I remember correctly I got my copy new for around £5 or so from either Ebay or Amazon marketplace and it's possibly the best bass related purchase pound for pound I've ever made.

The Genzler Magellan 800 fx loop return goes directly into the power amp according the manual. I've been gigging mine for several months now and can't fault it, more of my thoughts about it here. Edit, I missed your budget of £4-500 In that case I'd suggest the Magellan 350, I've got one of those too and it has more power than you're ever likely to need on a typical pub/club type gig.

I've spent a lot of time playing in rock bands over the years where driving 8ths are often what's needed from the bass. As such I hadn't put too much time in over the years working on counting, but that is something that I have been working on the past few years. A great, simple to understand book and CD set that has really helped me to get to grips with counting over the years is Bass Grooves by Ed Friedland. The book explains the theory and the CD contains some examples so you can listen and play along to really understand what's going on. It has certainly been a massive help to me so might be worth a look, perhaps?