MartinB

Ampeg's IR loader software also lets you set a "lo cut" (HPF) and "hi cut" (LPF) for each of the cabs - though the manual doesn't indicate the slope of these filters

Yeah - looks really cool, but at that price it's up against some real big hitters. Still - nice to see new stuff from Ampeg!

The slope (3 dB/oct) is a fair bit shallower than the common ones for bass, so depending on what you want it for, it may be too subtle. Micro Thumpinator 2: 36 dB/oct VONG-Filterung: 12 dB/oct variable and 24 dB/oct below 30 Hz Fdeck HPF-Pre: 12 dB/oct, or 12 dB/oct variable and 24 dB/oct below 35 Hz on the series 3 models Broughton HPF: 12 dB/oct Mini-HP-VONG: 12 dB/oct I'm guessing there's a limit to what can be achieved without a powered circuit

That's the tube channel with: Drive 7 Bass 7 Lo-mid 7 (switch in "up" position) Everything else flat

I've gotta say the tube channel does a pretty solid impression of the splatty sound that I associate with 60s soul. I'm not even using flatwounds here: digbeth tube splat.mp3

Update: 9 months later, I'm still using the DB-PRE. I'm mostly using a core tone that's slightly dirty, with loads of low-mid punch: Digbeth bass.mp3 Tube channel Bass 7 Lo-mid 7 (switch in "up" position) Hi-mid 6 Treble 5 Drive 7 A great piece of kit for the money!

That's a really smart design, and it's great that they did it properly with an IEC cable instead of having a separate power brick

Yeah this is a great trick - especially where something's been down-tuned or played on a 5-string. Adjusting the left-right balance or setting the channels out-of-phase can sometimes yield useful results as well, depending on how a track has been mixed.

It's always a good idea to grab* a local copy of anything that you might want to listen to again in the future anyway. Things vanish from Youtube all the time due to copyright claims, accounts being closed, etc. And they also disappear from Spotify et al, due to (I assume) record label dickheadery. * Assuming, of course, there's no legit way to obtain a copy in your territory in a way that supports the artist 😇

So let's assume you've accepted that Spotify are never going to restore support for ASD, and you're going to have to start using local copies of the songs you want to work on instead of trying to stream them. I really like Transcribe - it's got everything I need (looping, speed change, EQ, transposition, section marking, spectrum analyser). It's absolutely possible to do all of this in any DAW (e.g. Reaper, £0), but I find that a dedicated app makes for a simpler/faster workflow. For me, the price was affordable, and it's a one-time payment rather than an exploitative monthly subscription.

I'm using GHS Pressurewound M7200 (44-106) for D standard. They're both stiffer and higher-tension than your average roundwounds, so they don't get too floppy - and you're unlikely to have to file your nut slots to fit them.

Double-walled corrugated cardboard + duct tape = new cover for my Barefaced One10! 😁 Pros: - Cheap (£0, since I already had the bits) - Looks crap, to discourage theft 😆 - Rigid enough to work as a stand too: I I haven't tested whether there's any resonance or similar sonic weirdness from the enclosed empty space, but if so, I'm guessing that stuffing a coat inside might help. Cons: - Splash-proof, but probably wouldn't survive having a pint spilled on it, or sitting on a wet/muddy stage. I couldn't be bothered to fully tape the inside walls. - Gives as much bump protection as a cloth+foam cover, but the cardboard will crush rather than springing back into shape - it'll gradually give less protection the more abuse it takes. I may yet slap a load of stickers on it 🎨

Love a 303! Good Times sounds really cool 😀 I Wish - Stevie Wonder Lovely Day - Bill Withers Give It To Me Baby - Rick James

Ah right. For those three pedals, it's still two cables vs. three cables though - plus if you leave a spare plug on a daisy chain, it: (a) Needs to be covered or secured, as it can cause issues if it's flapping around (b) Tempts you to buy another pedal 😅

Yes. But... if you're using a daisy chain pedal with three male plugs, why not just have one plug into each of your three pedals, and not use the "output" on the Polytune at all? I don't know that there's any advantage to passing power through the Polytune unless you've only got one other pedal, which would allow you to use a single male-to-male cable.

I've now switched to Max Grip 0.88s, as I'm tuning down to D standard and the strings are a lot floppier. Still sharpening the ends though! To me, a nylon 0.88 feels about as flexible as a tortex 0.73 (yellow)

Bass Direct have it listed as a special offer at £249 (regular price £299)

With that many outputs on the power supply, I'm guessing you won't be daisy chaining anything. But in case anyone else is reading this thread for ideas - if you've got a daisy chain with more plugs than you've got pedals, avoid mishaps by finding something to cover the spares plugs. More info here:

Looks great! The ability to pre-set the contour on each channel independently seems useful, along with the adjustable HPF. It's nice to see top jacks, but it's odd that the input is at the top-left when you're facing it - that's not where you want it if there are other pedals in front.

I've always wondered whether the bridge cover could be attached with magnets instead of screws, which would enable you to pop it off easily - along with the mute, which could be stuck to it.

Well that's a cool idea! Approx £55 with shipping, but I couldn't see where it's shipped from, so there could be import duties etc.

The tuning's not even consistently wonky. In a lot of of digital copies, you can hear the playback being sped up at around 1:03 - right in the middle of a keyboard part, which then sounds out of tune with itself 🤣

Q: I don't have a fender but should I? A: No Q: I've never tried a P bass but should I? A: Yes

There have been some attempts, but I don't think anyone's willing to lock themselves into a system that might limit their options. And I can't see that there's any incentive for existing pedal manufacturers to adopt someone else's format until there's mass adoption. It'd be nice to think that an alliance of small-to-medium indie pedal builders could all agree that jacks-on-top was the new standard, and then the big boys would recognise the demand and follow suit.

I'd love to be able to play like Nile Rodgers! But if I was that good, would I be interested in "local pub covers band level" groups? Perhaps not 🤷‍♂️