jensenmann

A friend has been using this online mastering facility several times and was very satisfied: http://www.virtalahde.com/

Does it have to be Boss? TC electronic has a classic out there, the SCF pedal. Give it a try. I´m using mine since 20 years, checked many others just to find out that nothing compares (except the TC 2290 rack delay).

My ´62 Jazz (sorry for the crappy picture, I gave my best...) [sharedmedia=core:attachments:92838]

I was playing SWR and Ampegs for many years (and still play Ampegs) until the day came when my SM400 went defunct at a rehearsal in the morning with a gig coming up at afternoon. ON my way to the gig I had to pass a local musicstore anyway and picked a Trace AH600SMX for thi gig and was extremely blown away. I never before had such a present sound on stage. Needless to say the SM400 had to leave and I bought exactly this head. All Trace cabs I played before sounded ugly, all Trace amps beside this one sounded ugly, even the tube models and the combos I tested. I couldn´t believe how good this particular top works with my playing on stage. Though I´d never record the ampsound (in contrast to my SWRs and Ampegs), it´s just on thing that makes my Trace great: cutting through on stage.

[quote name='Mr. Foxen' timestamp='1324775104' post='1477834'] I reckon pretty much like a guitar cab. [/quote] Absolutely not. It´s a basscab not guitarcab. It´s much bigger than a guitar 4x12"and speakers are mounted in a very funny way. Each speaker blows into another direction. This helps to hear your basssound all over the place.

I prefer having different pedals for different effects. Nowadays I mainly use a TC SCF for Flanger and a very old Ibanez Bi-mode chorus pedal. For studiowork I use Lexicon PCM70 or EMT251 chorus programs and for flanging my TC2290 delay or Eventide Instant Flanger. But that gear is some seriously old and rare stuff.

[quote name='Mr Bassman' timestamp='1321746447' post='1442765'] I've got an 89 mk11 walnut 5 unlined ebony fretless that I might consider trading for a four. [/quote] If MoJoKe is not interested in a trade shoot me a pm. Unlined Mach 2 fretless 4string here.

For seriously creative effects there are only few boxes that allow you to dive very deep into creating algorithms. Eventide rackmount processors are very wellknown for that (H3000 or H3500, DSP4000/GTR4000 or DSP4500, H7000, Orville, H8000, Eclipse) as the TC Electronic Fireworx is. All these go beyond the abilities of standard multieffects.

Here´s a picture of my ´62 Jazzbass. Everything original except Schaller straplocks. [attachment=92838:000_0452.JPG]

Here´s a shot of my Ampeg B15s and Jazzbass in our controlroom while recording. Enjoy [attachment=92821:000_0452.JPG] [attachment=92822:000_0453.JPG]

http://www.flight13-duplication.com/index.php?id=40&L=1 Ask for Björn, he´s the mastering engineer. They have their own pressing plant, no brokers involved.

Here´s a picture of my Squier JV Precision. According to the serialnumber it seems to be an 83 model. The last owner added a DIYed active electronic with funky bass and treble pots. They interact in a weird way. When I took it apart I found out that the circuit had a flaw. After fixing it sounds pretty good. Usually I´m not a fan of active basses but in this case I´m absolutely fine with it. [attachment=91982:000_0450.JPG]

[quote name='wombatboter' timestamp='1318753497' post='1405722'] Bought a Pro last summer and just had it defretted... Not the best clip (it sounds more boomy in my new house) but it gives an impression.. It's a rather "limited" bass (just volume and tone and a switch) but it delivers the sort of sound I'm after.. [/quote] That´s a wonderful sound. Did you have the fretboard painted?

Awful handling, great midrangey sound which in conjunction with an SVT rig lets your guitarplayer lose his faith in his 100W fullstack Marshall

Some day when my SVT needed some TLC I took my El. Blue with me and played it into the SVT 8x10". The band didn´t believe what was coming out of the cab. SWR did some magic to their poweramps to make them work with these 8x10"s perfectly. My former SM400s was another favourite of mine together with the Ampeg cab.

The neck has all signs for being original, though the date stamp needs to be checked. The body, though, looks like a 80s gold (anniversary) model. If the ashtray is removed there should be four holes visible which have been used tomount the damperbridge (included with all 62s). What puzzles me most is that the pickguard screws are not bent. Tortoise pickguards of this vintage all have shrunk and hence bent the screws. Certainly the instrument isn´t a player. It shows not enough wear for an instrument that age. Usually there´s reason that it´s not played excessively, soundquality might be on of them.

For crazy stuff I´d go for an Eventide Eclipse or TC Fireworx

Did you ever try the Radial Phazer or Little Labs IBP? Both are adjustable allpassfilters. You can exactly dial in the phaseshift you want instead of using the 180deg button of the desk in the hope that it helps. I have a bunch of these IBPs in our studio and I love them. They work great for snare and the above mentioned bass DI + mic adjustment.

The Ebow is not powerful enough to move basstrings. But it´s longtime ago that I checked that, maybe it has changed, who knows. For crating rectangular shaped signals a fuzzbox in extreme settings works fine.

You´re right, RE20s are expensive. But the best is always the enemy of anything good. What the soundguy really needs at the end of the days might be totally different from what comes out of the cab, anyway. Hence other mikes may work well - or not so well. It´s a matter of all the other sounds delivered. For all gigs I played and thought it´s important to hear the sound of my rig through the PA I always refused to use a DI and carried my Sennheiser MD441 with me. Another great mike, but even more expensive these days. Most engineers hated me for that, but who cares. If NMA means New Model Army and you´re theis FoH techy then we probably met at the M´era Luna Festival some years ago.

All above mentioned mikes do alter the sound. They are all made for bassdrums and have built in presence or treble boosts. If you want to hear exactly what comes out of your cab get an RE20. The mike sound sometims gives good results, sometims is crap. With the same amp/cab/bass/player. Unfortunately we´re depending on the room we play in because room modes delete or boost lowend depending on where your ears, your cap and your mike is positioned in a room. You´re only free of the problem when you use a DI exclusively. But then your PA doesn´t get the sound of your rig. The only solution is to use the mike sound for frequencies >300Hz and let the lowend be done by the DI. Now you only need to find a PA guy who believes what you say. Usually they all know everything better. I know that, too, I´m one of them ;-)

Look at how a Taurus creates his sounds. You´d need two oscillators which are summed, then run the signal through an VCF (MF101) followed by an ADSR envelope shaper. One of the secrets is that one of the oscillators needs to be out of tune to produce the fat sound . I´d start with splitting the bass signal into two paths. You can do the detuning in one path with a Whammy pedal. Creating sine signals like oscillators do can easily be achieved with an Boss OC2 by turning off the direct signal. Other waveforms are a bit hard to achieve. Both signalpaths need then to be summed somehow (small mixer or two input bassamp). Then run through a MF101 followed by a compressor/expander (A Klark DN500 or Drawmer M500 give you all the parameters you need). There´s a lot of space for creativity to expand the possibilities. Wire phaser/chorus/flanger pedals everywhere into the path and you get heaps of new possibilities. Now the fun begins.

well done, mate!

I´m using A TC2290 delay which is 19" rackmount or a TC SCF pedal or a Ibanez BC9 bi chorus for chorus sounds. The 2290 needs to get tweaked for chorus sounds but it sounds spectacular.

Here´s my latest acquisition: 1978 Fender Bassman 135 enjoy