Frank Blank

*shudder*

Chuck a turnip at it.

Ah, got you. I've had a look at these online, I must admit I am skeptical about anything that uses the word enhance. Having said that it does seem to do something to the tone, I think the only way forward is to try one out, difficult I know in the recent circumstances but there are so many variables with things like this, your playing, your guitar. Do you feel there is something lacking in the instrument you are using?

Yes, that alongside sitting crosslegged on cushions in front of a Korg MS10 and an ARP Odyssey, it was highly unlikely to catch on.

Lemmy wanted to call his new post-Hawkwind band Bastard, after due consideration he settled on Mötorhead. I was once in an early synth band called Batrachophrenoboocosmomachia, we didn't get far.

I think I'm about to give birth to twins...

*shudder*

...and that transaction isn’t as smutty as it sounds, Matron. 😁

It is a myth that anyone who refers to their bass as 'she' isn't a complete w4nk3r.

Ftfy.

Don’t hold your breath.

Bodyrez?

Welcome @GarageStudiosCo from just up the road from @Paul S go Hessex.

But Shirley this is an aid until you can recognise each note independently?

I used all my previous acoustic basses apart from this new Ibanez without any pedals or FX and went straight into an AER Basic Performer. This was a beautiful set up and I’ll still be using it now had I not had the Interesting FRFR Story conversion experience... ...my ideal with bass amplification was that I always sought to simply make the intrinsic sound of each bass louder, sounds simple but no, all amplification colours the output so I wasted years trying to get this uncoloured sound from amps and continually being dissatisfied. Until I read the above thread. Having read the whole lot and consulted with many of the extremely wise and knowledgeable experts on BC I settled on a QSC K12.2. I went to PMT with my Rob Allen Mouse and the preamp I was using at the time. Everything on the preamp set to midway, neutral settIng on the QSC plugged in the bass with the expectation of giving it a real thorough work out but the sound was perfect straight away, I made up my mind in about three minutes. So that was my setup for a while, bass > Fishman Platinum Pro > QSC. The only problem was the disparity between the outputs of my various basses, especially the RA Mouse which has a particularly hot output, I didn’t want to be continually altering the EQ on the preamp for each bass which led me too... The HX Stomp. I play in an acoustic duo but we use quite a wide sonic palette (imho) for such a genre so I was using three or four basses per gig. With the Stomp I can tweak the fundamental sound of one fretted and one fretless bass to suit each song. It sounds odd having said I spent so long looking for the fundamental tone and the, once found, tweaking it with the Stomp but the tweaks are tiny, a touch of compression, small tweaks to get a more ‘upright’ sound. In actuality I barely scratch the surface of what’s possible on the Stomp, I basically use one amp/speaker model and the rest is very subtle EQ tweaks. Live I use bass > Stomp > QSC. If there is a PA I take a line out of the QSC (which I use as a monitor) to the desk, if there Is no PA I use the QSC as backline.

Here or here.

I was going to post said video but it's actually just too dreadful.

This was precisely my rule initially, no bass that costs over a grand. My last few purchases have broken that rule and now I’m going back to it. Past 1k and it’s all about the instrument rather than the music for me. I need an instrument that I just pick up and play rather than marvel at and be overly cautious with. Apologies for the long replies, I’m kind of working it out myself.

Well it’s a doozy. Obviously it doesn’t quite have the build quality of my ACGs but you know what? It’s lighter, easier to play with the thin, fast neck, the D’Addario flatwounds are nice and comfortable. I often bang on about basses being ‘tools of work’ and how boutique basses make you worry about dinging them or taking them out to play live whereas I’d not mind getting a ding in this. I started out (in the later second part of my bass playing life) playing a £400ish Fender Jazz Modern Player, which I was completely happy with until I joined BC and was infected with a) GAS and b) the idiotic search for the ‘perfect’ bass, well I’m going back to basses I’m not so precious about. I’ve got an Ibanez SRC6, love the neck, now I’ve got the SRH500, love the neck. I will probably consult @Woodinblack in depth about more SR basses as I now have fretted and fretless acoustic basses, that acoustic sound being very much a cornerstone of the music we play in our duo, but I do need an electric bass with a wide range of tones and the SR neck. I’ll probably sell both the ACGs and go back to playing tools (that sounds wrong) rather than works of wooden art. Back to your original question, yes, it’s a lovely bass. As with most acoustic basses it should be called an ‘acoustic’ bass because it isn’t loud enough acoustically to keep up with an acoustic guitar and singer but plugged in it has a lovely tone and with the help of the Stomp it’s delicious.

Welcome @MikeStockport

I think so, looks like there’s plenty of room for lowering the action.

He played a lot of stuff that I didn’t like but whilst waiting for stuff I did like I often heard stuff I’d not heard before that I did like. JP introduced me to lots of bands and a few genres of music too. My musical genesis (sorry) was prog really but JP was a massive reason for the broadening of my musical horizon. I’m off to listen to The Lamb Lies Down on Broadway.

Pics added.

I had a similar Bjork ‘conversion’ experience when she was fronting K.U.K.L., in Vauxhall of all places!