Cuzzie

Ok-hello all! Bigwan-I love the Hartke too, but when I was playing G&Ls their pick ups were just too hot, even in passive mode, it took some of the joy out of playing with my pedals, so the Hartke got sidelined as too much signal was being pushed. Then moved to a lower output and a jazz bass, and the world made sense, the Two Notes came alive. I then accidentally remembered I had the Hartke and had an inkling they would work together, as I just converted to as small a board as possible to just hold the Cali76G and Two Notes and a tuner, the VXL had to sit on the floor at the front. I loved the Bassman preset from the manual, and then tinker it a bit from there, and dial up the harmonic dial a bit more, sometimes I max it. I get a fattening of sound and an overdriven and tend to have both stomps on. When I combine it with channel A and the Cali76G with a bit of germanium dialled in, slight bridge pup preference I love it. It is a full punchy sound, with a bit of break up. I mainly use a pick and the Hartke gives a slight metallic ‘click’ sound on each attack which allows the note to cut through. When you describe it, it sounds awful(!) but for me it really works. When using my P bass, I prefer the Hartke on its own, that gives a full and warm overdriven sound. As it’s higher output adding the 2notes just pushes it over the edge and gets a little muddy. In short, fattens, gently distorts and really pushes the sound through, with that set up I can cover tones from rock to whatever, just great fun, and we have not even touched on the fusion mode!

Two Notes did not disappoint me, I love mine absolutely, it actually sealed the deal for the death of my DG pedal. Hope you find you love it as much as I do-go in with an open mind and you’ll get it right, it’s its own beast and will sound it’s own way, hope it’s right for you, and those fusion modes are mint

I did like the B3K for recording stuff esp on the amp but it did suck out some tone, this could be a very welcome addition, although you are right, a bit of judicious EQ sorted it. This is a solid addition I think to their line

So.....disclaimer, guys like Dave will be well better than me so you have a great resource already! I get what you say about tonewoods etc. Strings also play a big part. Pick ups - position and winding. J P/J bass will suit elements of distortion better due to its placement of the bridge pick up near the bridge giving that barkier, thinner sound which does work well as if you are not careful with distortion it can pull a load of your bass out of the tone. You can then blend those single coils into your sound. 60s jazz placement had the bridge pup closer to the neck than a 70s and that was because metal was becoming more common place in that era and it gave an edgier sound, so that would be one thing to look at. Prime example is a Sandberg bass. the TT has the standard 60s position, but the MarloweDK sig model has the bridge pup further back making have some real teeth. Split coil classic P has that sound and placement in a sweet spot giving a thick thud, then a Stingray has a classic sound, partly because of the MM pup but also the placement. P’s And Rays have a very distinct sound. P sound is very full in the mids, but it will distort. Listen to Kings X and dUg Pinnick, that’s all on a split coil pick up. Having a slightly different sonic spectrum will give it’s own harmonics in a distortion overdrive setting Next will be the windings, output, voicing of the pick up, this will alter hugely whether passive or not. I like a passive bass as the nuances are more sensitive for me to get the best out of a pre-amp and pedal. It’s one thing liking someone’s sound to listen to, but playing it yourself may not feel right. As good as DG products are, maybe it’s worthwhile experimenting with other overdrives and distortions to get your sound, and of course how it dovetails in a band. Things can sound great solo, but with other instruments just sound like mush

I agree it will be interesting. Personally it’s not really me, but I can see the need for it, and something like what you did, Meshell N’Degocello, Les Claypool etc use it as an art as part of the song rather than hundreds and triplets everywhere and looks of ‘fake’ note mutes and plucks, just hurts my old ears a bit No doubt in a few years a new thread will read, why are you using a pick when every body slaps...

Funk god The Technique suits the song S’all good

Al If you move anything underneath, move the power supply mate, something like the smooth hound is too delicate to be under. Honestly just get the drill out, it’s a v quick job

Nope I took what you said in board, but I don’t think it’s as simple as that having myself used a B7K, B3K and VMT circuit/pedals with a P and a J bass, and with G&L ASATs solid body and semi hollow and the L1500 (like their stingray), a Fender Cabrontia and a Fender Starcaster You can make any of them work with any of the pedals, but you EQ them to your needs compared to what the pups give you. With reference to the second post from the OP, if you like the Dorje/Karnivool spins which is that thinner driven fizzy bass, just replicate the tools you know others use, and you will be happy

I’ll respectfully disagree slightly with distortion working better with a Jazz than a P, depends how you EQ everything. One of the best distorted sounds out there on the planet is dUg Pinnick of Kings X and other bands like KXM. He has generally always used a Seymour Duncan APB split pick up in all of his bases, except for his 12 String.

Massive mine field of trial and error and your ears as well as balancing with hose who you play with. All jazz and P pick ups are not born the same. Quick example from my set up. Pedals Hartke VXL, Two Notes LeBass, Cali76G 3 passive basses, 1P, 2 jazz. 1 jazz has the bridge pup in the 70s position so nearer the bridge, this jazz has Sandberg in house pick ups, rosewood fret Recently acquired Jazz has Haüssel pick ups more mids, slightly hotter, in the 60s position, maple fret. P bass is the P bass. 1st jazz works well with all pedals kicked in, 2 nd jazz I am finding out but essentially the same as the first but everything is put a bit more forward and brighter almost angrier sometimes, combination of pups and fretboard P bass works best with just Hartke and compressor, can’t have all 3, it’s a muddy sound. May not be too helpful, but it will be trial and error for you and your ears

http://greatbritishbasslounge.com/product/tech-21-b112-vt-cab/ Ceramised Cabs voiced for distortion 4 for the price of 1 They are a bit on the light side though......

10 days is quite son to drive mate, part of the problem is the when you bend you wrist back to hold the steering wheel, that exact motion exacerbates the problem you had, and increases the pressure inside the carpal tunnel. On NO accounts should you do any heavy lifting with that hand for a minimum of 4 weeks, absolute minimum. I am assuming you play right handed (sorry lefties) being your picking/plucking hand having it down for long periods will result in swelling so you need to elevate it, you may also find your fingers a little more clumsy initially after the surgery, and some people do suffer from a hypersensitive scar. You need to be very careful, a gig is a one off, you hand is for life

there are no tendons going across the wrist, what they are cutting is a thickens piece of fascia/tissue which is the roof of the tunnel which allows the nerve to 'breathe' as for some reason things have gotten a little tight in there. as asked before Is it open or endoscopic surgery - this affects the recovery profile and scarring

Now I have no experience of the pedal in question, but isn’t it an inherent feature of electrical equipment that there will potentially and probably is some form of back ground hum. You have active pups in a bass and your mobile phone is in your pocket, you get a hum. Most distortion pedals, give some hum, or any pedal has the potential (least being a tuner) Pre amps in an amp can give a slight hum. The simplest is touching the jack on a cable, or even a little rattle in the socket gives a hum. The real question is how much does it matter. Headphones and silent practice at home, everything becomes monster, your playing sounds worse because you hear everything and every nuance, but actually you start playing along a track or in a band mix and I would wager that it all disappears and you won’t have someone out front saying “crikey the bass players pedals at scratchy, I couldn’t sing along to Mustang Sally it was so off putting...” Just my opinion of course.

I now have a Cioks DC5 as I down graded, before that decibel 11 Hotstone deluxe Guys from voodoo lab broke off to make this, its quality and a bit cheaper, and fits voodoo lab brackets

Is it open or using an endoscope?

I have flare audio and Alpine, Flare just take it

Well down to you and Mr Krow I have reignited my pedal delight, I had just got my pedalboard small (in number) to a Hartke VXL, MXR Chorus deluxe, Cali76G and Two Notes. Now I am making a second board of my ‘spare’pedals. Source Audio multiwave distortion, Manta bass and hot hand, Mantic Beef Bag. There is no hope for us whether we are the height of Nelsons column or just normal..... Tinkering is playing by the way...

wolf in sheep's

Careful Al, he is based in Portsmouth, he could be military. Operation human shield Bas, i'll protect you

if you guys fight, will it be fisticuffs or girly slaps.....

Well Cameron you have officially taken the biscuit - i could say mine are a US13, but that means yours are a US14. Not only have you bigger feet, more pedals, but no doubt are a better bass player than me too. Shame you only have a puny 900w amp at your disposal........

[quote name='Wolverinebass' timestamp='1507540565' post='3386078'] That's Danny Trejo. [/quote] Yep I was completely wrong on so many levels, I need to slap myself!

Disagree about bass not being noticed if you foul up in the depths of a song, I thing it’s more noticeable than a guitarist chugging slightly out of time, a wrong string in a chord. We have to keep the groove and the time Either instrument doing a solo and doing it wrong will get noticed

As above with excursion Also dispersion is a key and how it behaves on axis, off axis etc. It’s a minefield (sort of) Simply put to my simple head. Get an amp that has enough power to drive your sound in the places you play. Get a cab you like the weight sound and look of that can handle it (or vice Verda, match the amp to the cab!) Pair em together and bob’s your Uncle. If you play big venues, you’ll need to DI to a PA as well maybe mic’d or from an amp/box/pedal