radiophonic

Excellent. I've been wanting to try Hi-Beams and although 105 is heaver than my usual, I also need to use drop-D on a couple of songs now, so this is a cheap way of killing two birds. I'm guessing it's a pricing error though, so they may not honour it.

Mixed. I bought an LH500 and 2 x 210 X cabs in a 'new band' emergency about a year ago. I needed to gig in less than a week and practically, this was all I could afford that would give me enough stage volume and look vaguely credible. A year / 25 odd gigs down the line I think the amp is a fairly solid - albeit heavy - product but it has a pretty obvious and major failings in the effects loop. The 210 XL cabs are (and feel) pretty cheap and don't really deliver a convincing low end. The low-end roll off is quite severe and if I had money to spend, I'd replace these with something more sensitive before the head. For 'cheap' gear, it's fine though.

[quote name='chris_b' timestamp='1502286591' post='3350468'] Wilco, I would say you were given some very good advice. If I was asked to move my car because it was blocking someone or something. . . I'd move it! Why would that be such a problem? Why would you try to make something out of it on the internet? ?? [/quote] Well its a question of where you would move it to. BD has a small car-park shared with some other units. My experience of the place is that it's basically gridlock during the week (vehicles on grass verges, delivery trucks blocking the narrow roads etc). Moving beyond the shop's slots means leaving. Asking a customer to move out of the customer parking doesn't seem like much of a business strategy.

[quote name='T-Bay' timestamp='1502222801' post='3350122'] I am in the same position just having bought a sub n up. There are so many possibilities that it's hard to know where to start. It's a fantastic system, just needs to be opened up access wise. I spent an hour tonight just fiddling about but it would be nice to have access to a bank of user created tones. The other frustration is that I can only use the beam on their TonePrints and you can only use the editor whilst wired up which is a pain. I still love it though, much better with a slightly flawed system than no system at all. [/quote] What are the options in the Sub'n'Up? The Flashback and Corona share a [u]lot[/u] of functionality (all the Chrorus options are Flashback Modulation options), you just lose one use definable knob which makes a Flashback Chorus, Flanger or Trem pedal a bit less flexible than a Corona version of the same pedal. I'd imagine the Sub is very different?

I'm now 100% sure this is down to a commercial decision and nothing to do with technical challenges. Given the overlap in parameters between the various modulation/delay pedals, if you could 'save and beam' all your own prints, there would be slightly less reason to buy the main pedals. A couple of Flashback Mini's would potentially cover your needs - although I for one prefer on the fly adjustment and would still get a full sized pedal. I'm already finding the lack of beam options very annoying. At practice last night, I wanted a custom tremolo effect that I have saved on a computer at home, but the tone-print slot was already in use. I ended up using an ad-hoc rapid delay solution. This defeats the object of the technology. If it isn't flexible enough to use live and on-demand, then I don't see the point. 10/10 for the idea. 4/10 for the implementation.

At least a Bass Drum is [i]meant[/i] to be loud. We don't have one, but the average sound guy responds by making the cajon as loud as a kick drum would have been, then cranking everything else to match it.

[quote name='CameronJ' timestamp='1502180560' post='3349719'] Yup. The lack of easy sharing of TonePrints is a pretty annoying omission from TC. I don't know of a specific "TonePrint screenshot marketplace" but maybe try Talkbass if you haven't already? On a side note, Source Audio have a similar editor for their pedals which allows and encourages the uploading and sharing of custom pedal settings. Maybe look into some of their pedals. Technical support from SA tends to be rather good too so if something isn't quite behaving as you expect you can often get help quickly. [/quote] Well, I wasn't planning on buying anything new! I have a FB and I'm looking to rinse everything I can out of it. I will take a look at Source Audio though. Trawling through the TC forum, most of the threads are very short and many of the answers are simply 'no'. I'm wondering if the recent Behringer takeover has had an effect on their attitude to IP (idle musing, no evidence). It seems like they've gone half-way with Toneprint and ignored the huge community potential that exists. There are some real geeks out there! I can't even get a breakdown of what all the parameters in the editor actually do. The sliders are very coarse too - manual value entry would be a useful option. There's also some suggestion on other forums that some parameters are still hidden, compared to the pro editor. If true, that would be a shame. Looks like I'll be spending more time wading through the archives on Reddit!

I've had a Flashback for about a year but have only just started to look at the toneprint possibilities. It's far more powerful than I'd imagined. I'd been trying to get a Tremolo type effect out of the standard 2290 delay setting, with limited success. After a bit of trawling around Reddit, I found a bunch of screenshots that - whilst not perfect - can achieve the effect I'm after by swapping the chorus modulation for a through zero flanger and reassigning the functionality of the delay and feedback controls. Result. However, TC in their infinite wisdom don't let you upload user generated prints to mobile devices or to any central 'file exchange', making user exchanges of actual files or discussion of optimal parameters difficult. I'm not sure of their reasoning - pretty much [u]the[/u] most common complaint about toneprint is the lack of a mobile upload option, but they seem to have 'solved' the issue by offering three slots on the new FB and HoF pedals, so in theory you wouldn't need to reload on the fly. Does anyone know of any repository of toneprint screenshots? There must be a tonne of them out there. I've noticed some comments on Reddit to the effect that so many of the parameters that you can access via Toneprint are common to multiple pedals that they become almost interchangeable and many of the functionality combinations could be achieved using a pair of Flashback Mini pedals. I'd be interested to know if anyone on here has dug into this. Again, comparing screenshots of prints from different pedals might offer some insights about the level of redundancy across the range.

I demoed the EHX, BOSS and MXR back to back and it wasn't even close. The EHX I found to be quite dark sounding, the BOSS was 'OK' but a bit thin and the MXR sounded awesome. I didn't get the chance to try the stereo options. I never use the flanger and the price tag was way higher but the quality gap was massive. No regrets. I've also found the simple crossover button to be tuned exactly right. It gets the effect right out of the way of the fundamentals - in fact I've discovered that once your strings are a bit worn in, you can hammer away on the E string and then go for a high fill and the chorus just emerges as you play the fill. I think the Boss is digital too - so not really old skool. The MXR is definitely analogue.

I had TE gear in the late 80s (GP11 based) but I never really got on with the HiFi-ness. I just think it was a bad match for what I was aiming for, which was more overdriven - although nobody ever needed to ask me to turn up! I always hankered after a big Ampeg when I had it and ultimately sold up due to the storage/size issue. I think it's interesting that it's more popular again now and I think that it might appeal more to people used to super clean Class D stuff, who want to experience something (ironically) more old-skool. I think of it as having similar sonic priorities, albeit with a heavyweight implementation. It looks ace though.

[quote name='PaulWarning' timestamp='1501662138' post='3346237'] another covers verses originals thread coming up, the way I see it is young bands tend to be originals where as the older you get the more pointless it seems, you're never going to get anywhere, having said that the band I play in have just released a new album (and on vinyl!) we usually do about 6 or 7 of our own songs in a 2 hour pub set, occasionally we'll do an all originals set but we don't normally get paid for those. If you want regular gigs without spending all your time going up and down the motorway network you're probably going to have to do covers. [/quote] What do you mean by regular? If you play originals in Nottingham, it's a totally different scene from covers bands. We play a fair bit around the city, but it's more arts-scene based. Sometimes it's the same 'pub gig' venues but the promoters/organisers aren't the same at all. We occasionally play regular pub gigs (as opposed to places like the Maze or whatever), but those places largely expect/demand covers bands playing classic rock or classic punk, close to the recorded version. It also depends on what success looks like to you. If your aim is to make money, then covers is the safe - probably the only - option. If your aim is to develop a musical idea, execute it in front of an audience and get a reaction, then getting paid has never been guaranteed. I like the fact that I don't have to even think about pandering to an audience's expectations... although doing folk related stuff does put you in contact with people who still think Dylan is Judas for plugging in! We've been asked to do a slot at a Folk club next month, but I'm still taking a looper and a delay pedal.

[quote name='Woodinblack' timestamp='1501504570' post='3345087'] When you are pulling too much power from a power supply, and the supply can't supply the current, the voltage drops. Most pedals can cope with a bit less voltage, especially analogue ones designed to run from a PP3 as that would be considered normal behaviour. What happens depends on the pedal. Most analogue ones can go a long way down before it becomes an issue (i had a chorus pedal I deliberatly undervolted as it produced the nicest overdrive when it was low) as the supply rails go down and the amplifiers in them start clipping. Most digital ones will cut out. However the digital ones at the point of the headroom of the powersupply going down will start producing a lot more noise through the power supply, and that may be an issue long before any cut out happens. [/quote] Thanks for that. Sounds like I'm fine then, despite the numbers. I'm getting no noise increase when running Comp, Looper and Delay. The max combination is Looper Delay, Comp and Chorus (Analog) and if the latter is starting to distort, that would only be a good thing and probably hard to discern anyway, over the intentional gunge of the simulated tape delay tails and as part of a volume pedal swell.

I like a Phase 90 with the sweep set very slow, just to emphasis slides. For more 'effecty' stuff, on slides - and especially harmonic slides - I use a TC flashback set to tape delay or sometimes reverse delay but only engage it as I execute the slide and disengage at the end of it. Like everything else though, it depends what everyone else is playing.

[quote name='cheddatom' timestamp='1501493213' post='3344942'] some will work but with weird artefacts. My DD-20 seems to work fine but all the lights go off - if I don't have enough current on the daisy chain A lot of pedals are rated with a higher current than they really need If it sounds OK and works - who cares?! [/quote] Well presumably, if I'm maxing out the current draw on the PSU, it may overheat? I'm guessing that the stated spec of the pedals may be upper estimates with a large safety margin. I [i]care [/i]because I don't know if I'm on the edge of it crapping out or within a fairly safe margin and I'd like to avoid shelling out on something more expensive if I can. OTOH, I don't want it failing in a gig situation and my band are taking August off, so I have 4 weeks to decide and sort it out.

My pedalboard has grown quite a bit and I've ended up with several digital pedals, often in simultaneous use. However, the old Boss PSU I'm using has never been upgraded and (I only just noticed) is only rated at 200 mA. Everything does seem to work though, and I'm not hearing any obvious tone suck. I'd assumed that digital pedals will either work or not, but the current draw numbers don't really add up.I'd have thought that I'd be getting a voltage drop if the pedals were pulling too much current. Is this just a case of the usual engineering convention of doubling the rating for safety? Or am I just surfing a fine line of luck and it could all crap out on me at any moment?

Bumping a very old thread rather than starting a new one. What (if any) are the downsides of using a high impedance volume pedal in the middle of your signal chain (active bass, post-buffer)? I use a Boss Hi-Z one for swells and I've been sticking it at the front of my chain, purely for ease of set up when gigging (it's bulky, so it's off the board, plus i can leave it at home if those songs aren't in the set). Obviously it makes more sense to run it post-compression (at least) and probably post-everything except the delay pedal. I'm about to rejig things and probably get a bigger board in the process, but I only want to do it once! The total chain may be longer than this - I've got an tuner, overdrive and a phaser too, but the principle is the same. Current chain in most situations: Bass > VP > Comp (BB) > Chorus (TB) > Line Switcher (BB) > Amp Delay Pedal (TB) > Ditto (TB) in a loop Proposed Chain: Bass > Comp (BB) > Chorus (TB) > VP > Line Switcher (BB) > Amp Delay Pedal (TB) > Ditto (TB) in a loop Likely issues??

[quote name='blue' timestamp='1500762000' post='3340094'] How Was Your Gig Last Night? Not good. Blue [/quote] Care to elaborate? Given the number of ways it can go wrong, I'm genuinely amazed when it goes right.

Just back from what can only be described as a belter - the after-party for a local community festival. It's also the wettest gig I've ever played and - by a country mile - the best bass sound I've ever had on stage. It turns out that what I need is a pair of 1000W 15" back-loaded horns positioned directly behind me. Who knew? The sound was absolutely huge. We sound-checked whilst paying the first song, played too fast, dropped a few clangers and emptied water out of the sagging roof awning mid song, but nobody cared and the momentum never dropped. We're taking a month off now, so that was a great one to go out on.

Thanks for the suggestions - the Canyon looks very handy. Also, it would give me a second delay rather than just adding reverb shimmer to an existing delay. Having 2 loopers and 2 delays in separate pedals could get interesting (looping delayed signals for example). Tempting.

Well ProSteels don't seem to last significantly longer than Slinky's in my hands. I really liked the sound of them when fresh - very weighty - but a few practice sessions and an hour of sweaty gigging has resolutely deadened the E. I'd describe the other three strings as 'usable but not great'. This is very surprising since I'm not a heavy E-string basher at all. I play a lot of A/D drones and I'd be amazed if the E was getting any more hammer than the other strings. Maybe my definition of 'dead' is unusual, but all I'm getting is a thud now. I must have abnormally corrosive sweat or something.

[quote name='dlloyd' timestamp='1500360136' post='3337113'] But... [media]http://www.youtube.com/watch?v=3CjynmbtLlk[/media] $1099? Must be MIM [/quote] I just stumbled on that youtube link. Ed's original was an EC strat, modded with the Fernandez sustainer. He got it after his E Series Squier got stolen along with all the rest of the band's gear. That Sig model is quite niche though.

I'm considering a reverb pedal to add in series with my flashback delay. I currently use delay for volume pedal swells and I think that adding a shimmer will take things to another level, particularly when harmonising with the vocal line. I've previously owned a Boss RV6 but I didn't like the sound of any of the non-shimmer sounds. Very clinical and especially with guitar (when A/B's with the spring on my Fender Deluxe) not at all realistic. The upside of course was that it could take an expression pedal, so one of these + a volume / expression could be quite a powerful combination. I'm quite a fan of the TC flashback - particularly the tape delay setting - and the new Hall of Fame 2 does have a shimmer setting. It also seems to have a sort of low rent expression option (MASH). This would offer a slightly different functionality - standard vol pedal swells plus possibly boosting the shimmer at the same time, via some tap dancing. What might my other options be at a similar price point? For example, is it possible to hack a shimmer effect using a standard reverb and some sort of octaver?

I've encountered very few players who have a 'this will do' attitude. Maybe I've just been lucky, but aside from individual cases of blowing it through booze (and being really sorry about it afterwards) or the occasional strop throwing (singer obviously), every band I've been in has at least gone on stage wanting to nail every song. Where I have noticed a difference is when things start to derail (bad sound, faulty equipment, unresponsive audience, whatever) and some players not being prepared to punch through the fog to get it back on track. It's easy to nail things when it's all going swimmingly, but being prepared to really work yourself out of a hole, for possibly limited reward, when it's all going wrong is another thing entirely. I've seen bands at quite a high level act like spoiled children at the first sign of trouble and old pros just wade through it. The 'this audience doesn't deserve us' approach. Or giving the few people who did show up a poor show when they were the ones who [i]did [/i]turn out on a wet Tuesday.