SumOne

I guess it might have been down to the rest of my setup but also that I had the non-deluxe version which doesn't have as much EQ control.

I'd need to draw a line at Robbie Williams 'Angels'.

Yeah, I'm suprised they aren't playing bigger venues/festivals, they are playing at a punk festival this weekend. Personally, I'd put them headlining City Splash as they are pretty much the best UK Roots Reggae band still playing live in the UK. They were practicing at Arch studios in Chiswick and had Blood Shanti playing keys. I was a bit star-struck! Edit: Blood shanti was drumming

Misty In Roots were playing in a practice room next to us the other day and sounded excellent (my band didn't end up playing much as we kept stoping to listen!), had a chat with a couple of them and they were very friendly and down to earth and supportive.

Christopher Ellis - Rub A Dub

I've got an MXR Brown Acid which I think is based on the Coloursound and likewise - no bass loss, no need for clean blend.

"sweeping between 500 Hz to 2.4 kHz with the Low Mid Frequency knob (LMF) or 3.5 kHz to 7.5 kHz on the High Mid Frequency knobs (HMF)." Isn't that all a bit high? The 100-500Hz range is where I tend to want the most control but presumably thats's all covered by the one (non-sweepable) Bass dial so it's going to have a broad Q and not much control (e.g. wanting to reduce <70Hz while boosting 300Hz seems impossible). Seems like most other EQ pedals give more control in that range to do that: Sweepable ranges on the Q-Strip (40 kHz -700 Hz & 300 Hz- 6kHz), or single mid sweepable things like the Tech 21 Para Driver (160 Hz -3kHz), Starlifter (150Hz–2.8KHz) or EQ points on graphic things like the Boss GEB-7 at 50, 120, 400, 500.

I guess it starts being a bit more like stamp collecting.

Most expensive pedal? This must be a contender:

Anthony B & Massive B 'Turn it up' Carnival vibes!

Capleton 'You will make it'

I'm no expert but if you're not in a rush to sell I'd put it at quite a high price (£400) on Reverb or eBay for a while to test the waters, there is potentially a collector out there that is willing to pay a lot for 37 year old ratty looking rat! Some pedals look best pristine, but an 80s Rat is one that needs a bit of mojo. I think this is the same model as yours and they are trying for £591: https://reverb.com/uk/item/54529910-proco-small-box-rat-1985-whiteface

I'd always think of it as the bedwetter though.

I'm always looking for a Motown type slightly overdriven tube tone from pedals. Best ones I've owned: DHA VT1 Creation Audio Grizzly Bass Broughton Fliptop Solid Gold FX Beta ...all of those are great and I kind of regret selling them (particularly the Grizzly). I currently have a combination of One Control Crimson Red & One Control Hookers Green that sound good individually and combined. I've got my eye on the Acme Audio Motown D.I. but at £450 it's more than double the cost of any ot the things I listed above, I can't really justify that cost so have my eye out for them second hand. A pedal/DI is probably only a small part of the Motown sound though. Technique, P Bass, old Flatwound strings and their particular Motown DI/recording equipment are probably needed to compretely recreate it. As far as I know, although the B-15 is often what people think of for Motown Bass sound (and is what the Crimson Red and Broughton Fliptop emulate), the Motown recordings were actually via DI rather than a mic'd B-15.

It's new to me so I need to spend a while with it, first impressions are it's great value and small size (and there isn't a huge choice in mini sized envelope filter pedals) and I like some of the sounds it makes, but I wish it has a volume control - that's partly why I've moved my compressor to the end of chain.

It's basically a Tubescreamer (with volume, gain, tone controls) with added Symmetrical/Asymmetrical clipping switch, and Bass boost switch https://gojira.co.uk/product/gojira808/ I'm in two minds whether I sell it as I also have a One Control Hookers Green that sounds similar enough and is smaller (but doesn't have the variety of tones - or Homer's face!)

I've learned that mini pedals can be annoying as there's no standard placement for the connections - so they often don't align and squeeze in closely together. Much bigger pedals with top mounted connections don't actually take up much more room on a board like this e.g. an Aguilar Grape Phaser would probably fit in that Phase 95 slot.

Bought a pedal from Martin and it arrived quickly and is all good. Thanks!

The more I read about this the more interested I get. I like nerding out with compression and there's a lot of nerding potential here! And £200 from Juno seems a decent price. My reservations are that good compression is a subtle thing and just because SA say it digitally replicates various types of analogue compression doesn't means it actually recreates all the subtleties. I mean, SA say the Aftershock can do tube OD and silicon transistor Big Muff Fuzz (and lots of other things) but my experience is that it doesn't do it quite as well as the analogue originals. The SA website goes into detail of how optical compressors use light and a photo resistor and why this sounds good..... all very well, but the Atlas isn't actually using those components, it's using digital processing to emulate an optical compressor so it all comes down to how good the digital emulation is (can you accurately emulate light and light-sensitive resistors , or can you digitally emulate Field Effect Transistors?). I'm keen but am looking forward to some expert head-to-head comparison reviews.

I wasn't over-excited about a digital compressor being put into a generic SA one control housing for £275 (that's the Bax price anyway. Edit: Juno are doing them for £200), .... But then read that you can use it as both start and end of chain compression: bass> input 1 > compress> output 1 > rest of pedal chain > input 2 > compress (or limit) > output 2 > amp. .....That is impressive! I'm not sure if it's impressive enough to sell my Cali 76 to then buy an Atlas but I'll consider it.

Matumbi started as a backing band for Jamaican vocalists visiting the UK. I take them as inspiration for why there's no shame in playing reggae instrumental covers ('riddims', in the same way as jazz musicians playing jazz standards for different vocalists).