dave_bass5

I genually get all that, and id be very surprised if anyone could make a totally flat resonance bass cab. This is what my question was addressing. If its not flat or neutral why advertise it as such? Close to flat, relatively uncoloured etc, i get those sayings, but calling it FRFR does seem like a marketing thing if you arent actually getting a flat or neutral response cab. It seems like the phrase is used to encompass a variety of cabs that are less coloured than the mainstream, but still coloured enough that they sound different.

Im now thinking about this one, as its designed to work with the Helix (which is what i want it for). https://missionengineering.com/shop-2/products/expression/specific-use-exp/sp1-l6h/

This is how i see it as well, so is it right to call a cab flat when it isnt?

Cheers Bas. i was looking at the M-Audio EXP, which is only £14 on Amazon. I know no one here would recommend it, but i just want to see if i have a use for something like this first Then ill see what you end up with, based on this thread, and get the same lol

So, anything past 1970 then? 😁

How bizarre. ive been thinking over the weekend about asking this myself. Although i dont need one id like to get a cheap but decent one to play with at home with my Stomp.

Ok, i know what the letters mean, but i cant get my head around the fact that different FRFR cabs produce a different tone. The Fearless/BB2 thread springs to mind. If both are flat why do people prefer one or the other for tone? Which one is 'truly' flat if they sound differently. If its neither then what's the point of calling it a FRFR cab? Sorry, i except this is stupid Monday thread, but its been on my mind to ask someone, if nothing else to let confirm im missing the point.

Every lightbulb ive brought that was made in Japan has been perfect......they outshine the others

There is a reason others go for different styles of basses, but i cant imagine a genre that a P bass cant be used in.

Yep, totally agree. Although not the cheapest like they used to be they have a good range, and fantastic CS.

It also makes for a nice small modular system,. If space was at a premium you could at least just take the Stomp. Then there is a huge difference in size.

Stores are advertising it for £299, as posted above.

Thanks. Well my living room is quite messy and small, so needed to get rid of the clutter. Gave me a good excuse to get the fast prime out.

Cheers. Yes, it has a bit of poke to it. Jury is still out if it's more pokey than the MB800, but it does seem to be a more uncoloured tone.

Thought I'd post back and say how happy I am so far with the BB800. Really looking forward to gigging with this little rig next month.

I too agree about all this MIA,MIJ stuff. I bet my P34 would play and sound exactly the same if it was made with the same hardware and treatment, but not in Japan.

Relic is not my thing at all, but you try selling a bass with a few marks and scratches to someone who has a relic'ed bass and see what they say 🙂

Yep, I got this when it was on sale a few months ago. It's probably my fav drive pedal. It's very transparent. It does a nice mild drive without covering it with a baked in tone like some of the big names do.

Just got back from my first rehearsal with the BB800. Drummer didn't turn up so it wasn't really a good test, but I really liked what the BB800 was putting out. I never planned or worried about using the EQ, the stomp was going to do it all, but I'd say 80% of the night was with the Stomp in bypass mode. I really liked the EQ, although it took a few mins to get used to it. I do still love my GK MB800, and agree its so powerful even when flat. I was going to sell it but can't face getting rid of it.

Same here.

We have recently started playing a few songs where i dont play bass for a good portion of them, so ive stated using the singers Tambourine. Sounds quite nice and adds to the overall mix (which is quite sparse at that point) The problem i have is putting it down quietly when the bass comes in (for instance Hey Jude). I know you can get stands and i could hit it when its attached to one of those, but ive seen those small tambourines that strap to your foot. I like the idea of that as i can keep going with it. They do look quite small and im assuming will get lost in a typical covers band mix? Just wondered if anyone has any input and/or experience with these things. I dont want to spend too much (so not a floor based drum beater etc), and im also wondering why the hell im doing this while the drummer sits there on FB until he comes in.

I have the Specrtadrive and really like the EQ and comp, but never felt the dirt side was that great. As you cant edit the tone prints you are stuck with what TCE give you. The comp is only switchable with the EQ section, so you cant have Eq on and Comp off (unless you turn the comp all the way down). The comp of course is very nice. There is a patch called clean boost that i love, but its not really and OD as such.

Thanks. Is there a reason for the difference? I assume 4 o'clock for a bit off thickness, and 12 to keep it clean but with enough hitting the power stage? Just trying to get a handle on the Gain control rather than asking for settings (as I know this is frowned upon).

Cheers. Ill be doing it all on my Helix Stomp, so plan on keeping the Eq flat. Quick question about the Gain control. I understand about the compression/limiting that creeps in on the higher settings, but how do people normally set the Gain knob? Do they have it higher because they want a bit of limiting etc?