Cuzzie

@dannybuoy the pedals won’t explode because you are giving the pedals less current draw, a pedal will take its maximum draw it requires, so if it ideally wants 500mA but you give it 300mA it will take it but possibly not work to it’s full capability. You only fry a pedal when you give it more voltage than it wants, that’s is danger territory. @uzzell as long as you have you voltages correct and you have done your current draw maths per pedal you should be OK. On different power sources I have Daisy chained in order to effectively use the right current draw, that includes a One Spot, a Decibel 11 Hotstone Deluxe and a Cioks DC5

Nice leg

@Al Krowyou know you want one of these, go get a bargain!

i have this, I like it quite a lot

When you said Dog did you mean a canine, or a ropey looking version of the fairer sex

I had to paws for a while on this thread, I think it’s my fave in terms of jokes it’s terrierific

Briefly taking aside individual instruments, you would hope that in general there is a level of consistency in QC across the more expensive basses in their ranges which means that there should be more confidence in buying them. There is of course no replacement for trying each individual instrument as someone will always say, “I got a dud from this expensive range...” Anecdotally I had in my possession a MIM Fender jazz and a Sandberg MarloweDK jazz bass, however you buy it, be it new or second hand, the Sandberg is twice as expensive. The Fender was a good bass, no question, had I not had Sandberg it would have been more than OK, but just all around, especially in wood quality and tone the more expensive one took it.

Last Warwick amp I heard was being used by the bassist in Inglorious I think. not sure of the model but it sounded mint

@Bill have you gone off the micro Pog or any POg for solo’s then?

Yep sounds good bro. Dont put this in the compressor thread or effects forum though, one side will praise you for using nothing, the other half will suggest what you should have used....!

Good man @Al Krow remember for any interested out there they have a 14 day full refund and 5 year warranty, I think it’s very useable

It would be good if it came in at £300, that would be pretty darn cool, I suppose as you mentioned earlier it is kind of preset in that it has fixed crossover points as the HPF and the LPF are fixed. You’ll get a dUg sound, you’ll get a fat and full clean sound, and then something inbetween, it’s a dUg flyrig. Rumour is he used it on his Grinder Blues European tour, left the dUg amp at home and just used whatever backline he was given and got his sound, that is pretty cool

under $300 Street,looking very good!

under $300 street looking good!

Not played these, but have always wanted to. should Verellen get an honourable mention here? all the clips sound immense http://verellenamplifiers.bigcartel.com/category/amplifiers-cabinets

Yep it is quiet, but it is still an amplified signal. i used to have an earphone in one ear to an MPS player and a bass in the other, works ok

My Sandberg VS4 which is a straight up passive P has a nutwidth or 39mm. i think that would be in your territory

Fair play @dannybuoy not going to doubt you on that one. Currently the way mine are stacked I couldnt go without them and there is nothing horrific going on for me.

Nah I got a gozillion EBS flats of various lengths, always been fine for me, any noise can probably be explained by the pedals in the chain I am running, but there is nothing that disturbs me

@Al Krow I know we have digs at each other, but in essence there are a range of opinions here, in which some will be personal, some will be generic, but the overriding thing throughout this whole thread is listen to how things sit, really try something to see if it works, and then be how much and if it’s worth it @5im0n has been very eloquent indeed about compression and it’s uses as well as a load of other things. @discreet has his personal view that I fully respect and works for him, someone likes a spectracomp, another an MXR........ it may ir may not make a difference for you, and you can sit in the fence and debate or really jump in like you have done with other pedals which is really cool and spend time in using them and tweaking them. 2018 will be fun for you, the only thing you have wrong is your definition of world class bands!

@Al Krow you have sort of answered yours and my point. Wrapping it all together, if the use of a compressor pedal whatever it is aids in forming your bands mix, sound, levels etc. To provide a homogenous pleasing entity then yes the punters may not notice, as everything is well balanced (there is balance in the force, it is Star Wars time!) if your sound is unbalanced for whatever reason, then the punter will notice and maybe something is missing be it a compressor, EQ, etc. your point about filters is correct in that they will get noticed, because that’s what they are there for. If you play Sir Psycho Sexy or Bootsy Collins without an envelope, it will be noticed, as that stuff is based on it. Octave we will disagree partially as that again should in some ways not be noticed, as you are filling gaps where other instruments drop out, or you are after a particular effect, or in your case you want to track lower than a low F# where you told me your octaver does not go, and you are getting into rumble hearing territory and more bass notes you feel rather than hear. Look at Royal Blood, when they first came out and you just heard it on the radio, not seeing it, did you instantly think, that’s a guy with 2 octave pedals, pitch shifter, distortion, various tuners and cut off switches, and bi ampin or did you think, that’s a good rock sound, sound like a tight guitar and bass? Not noticeable until you look into it. Agent Zig Zag, your comment was on punters not knowing any difference, but now band members do so it’s a justification of equipment. Not really mate you are hanging goal posts again, but if you have a happy band with a well balanced sound be it Ibby, Yammy, Fender,Gibson, Dingwall etc. Everyone is happy and that is the point. I as well am not sure why compression divides opinion aside from assuming that if it’s not understood and not used correctly it can adversely affect sound, as can any effect! and Bas, I think you’ll find I have used these effects live, one being a Source Audio Manta (which I think you have now...) and hot hand, in a band mix, in a live pub, before you even knew what a filter pedal was, before you were starting a gozillion best of threads and whilst you were still failing to read the manual on your zoom pedal, and before you stared hailing the ‘pick’ having prevsiouly dismissed it for your smooth finger technique. BTW Bas, which of your new octave/filter/synth pedals across your growing-reducing-growing-reducing-consolidating buy/sell/flip as the wind changes boards have you used in anger in a live pub gig?

In the same vein the average pub drinker punter won’t care if it’s a decent Yammy 5er, or if it’s a markbass combo, or if you have Nordstrand pick ups, or actually if you have any pedal board at all, so we can all save money

Well I just made any sound mans job easier if I ever need one now that I have a Cali76CB to go with my Cali76G. its a beast of a pedal and tone heaven

Hello feel free to message a PM if you want, but in short, I think it’s bloody brilliant, it brings your bass out in a lovely way and I like the tone of it. So far as the B channel goes, having played with it massively I preferred it in lower gain mode and in Hot fusion, but I did tweak it extensively to the Nth degree. i also found I loved it most with my passive jazz, with slightly lower output pick ups rather than something hotter or more forceful in the mids, it allowed its delicacy to shine out, and don’t forget you can change the tube in it for preference! key is have fun and tweak and then tweak in a mix, make sure you have the correct voltage and mA’s fornit and you are away