SumOne

I seems to remember Lemmy saying he didn't need pedals, he did however need quite a lot of very big and expensive equipment to get his sound (and things like guitar techs, engineers with compressors and EQ etc). With unlimited resources I'd prefer to have a Ric with new roundwounds and a Marshall cranked to 11 for the times I wanted a tone like Lemmy, and a P Bass with dead flatwounds and B-15 when I wanted a James Jamerson tone, for the time being though I'll have to rely on pedals!

That's one of my main beefs with Multi-FX, they seems a bit too open to user error! I know it's possible with individual pedals too but it seems a bit more obvious with them e.g. clicking the wrong pedal on, or having the dials in the wrong places - the equivalent with Multi-FX can be one click too far for a completely different preset, or the correct preset but an effect within a it has been accidentally dis-engaged or one of it's parameters (on the third page of scrolling) has been accidentally auto-saved incorrectly etc.

Listening to a lot of D'angelo. I was put off for a long time by the 'smooth singing ladies man with a 6 pack' image but his albums are all seriously good (and some excellent Bass playing by Pino Palladino).

Horses for courses.If you're playing Motown there's no need for a synth pedal but if you're making electronic music it'd probably get a lot of use. A fuzz pedal won't be much use for Jazz but might be fundamental for some Metal bands. Likewise with chorus for 80s stuff, envelope filter for Funk etc. Multi-Fx is the most convenient way of covering all those options - perhaps not all useful for your band but at least the extra things make practicing more interesting and varied.

Got a pedal from Dan and it arrived quickly, well packaged, and as described. Thanks!

Bought a pedal from Lozz and it arrived quickly, well packaged and all as described. All good, thanks!

The Q-strip does have ground lift and -20db (plus 2x sweepable mids and HPF and LPF), and the M81 has ground lift. But yeah, perhaps the option of different EQ settings is a reason to go for the Starlifter instead.

Perhaps I'm missing something but their website says it's a clean DI tone - if it's not adding any preamp colour at all (just 3 band EQ with sweepable mids) then doesn't the MXR M81 do the same job in a smaller footprint for about half the price? Or a Q-Strip for a similar price but with additional EQ options?

I wonder if the FX loop can be placed in different places within the effects chain for different presets, that's something I find very useful in multi-fx units unless they replace every other pedal (and I'm yet to find one that does).

The Ethiopians 'Train to Skaville' (Boops Riddim - must have been used on 100 other tunes, 54-46 probably the most famous)

Yeah, it's a shame there don't seem to be shops that have a big chain of envelope filters (or any other type of pedal) plugged in for customers to come along with their Bass and compare. Recommendations are good to narrow things down but in the end it comes down to setup and personal taste. I'm grateful for Basschat as buying/selling second hand on here is a good option, most things are fairly priced and can be re-sold for similar prices.

Ah yeah I had a Fwonkbeta too for a while and it does indeed have massive bottom end - so much so that that's why I didn't keep it as was pretty sure one wrong move and my speakers would die!

I've owned the Spectrum, EBS envelope filter, Robotalk 2 (also multi things that do envelope filters: Stomp, Zoom, Future Impact). They all do more than the M82 but don't do it's specifc thing quite as well or with the same feel and funk. So I've just got the M82 as my envelope filter (at the moment!), I guess it depends if you like its quite specific thing or not though.

That is probably true, but there is the 'money to make money' thing in that a cheap Bass is probably going to lose it's value pretty quickly whereas a rare and expensive Bass' will probably get more rare and valuable over time. Also, even if the cheap Bass does sound the same to the audience it's the player that has to spend 1000s of hours with it and have it up on their wall at home, so they might as well get something that's more comfortable/enjoyable/easier to play and looks better - and sounds better for them (and the 0.05% audience) and holds it's value better if they can afford it - why make a hobby more mundane and 'it'll do' than it has to be?!.....These are the things I'm telling myself as I look through expensive Bass adverts anyway!

Yeah, I'm doubting I'll be able to combine them! About the closest I've heard is Dub Trio

I've been on the lookout for a while too since the other half of my rhythm section moved away, joinmyband does seem to be the best....I'm yet to find myself any appropriately easy going part-timer local Ska/Reggae or Stoner/Doom bands though.

Someone who's business is to make expensive instruments with part of their sales pitch for those instruments being what woods are used (with an upcharging 'master grade wood gallery' section to their website) is probably not the most reliable witness to tell you if the type of wood makes a difference. Saying that though, I tried three identical Dingwall Combustions at Bass Direct - all new, 10 year anniversary ones, same Dingwall strings and pickups, same body and neck wood, the only difference being two had Maple fingerboard and one had Pau Ferro, perhaps I was biased by what I've read or by the look of them but it felt to me that perhaps the Maple ones were slightly brighter and the Pau Ferro warmer sounding (the main difference though was that the Pau Ferro was less sticky on the strings when string bending) so I did feel that fingerboard made a difference - but mostly down to the feel of the strings against it and the look. I'm not convinced about neck and body woods making enough of a tone difference for me to care- I would care about how heavy they made it, how robust and stable they are and how it looked though.

I'm reading 'Bass Culture: When Reggae was King' by Lloyd Bradley (it's excellent) and just got to the part in 1969 where King Tubby has set up his 'Tubby's Home Town Hi-Fi' system with U-Roy as deejay (how's that for a combination?!). Tubby also worked for Duke Reid as a disc cutter so had access to all the Treasure Isle tapes where he cut one-off specials specifically tailored for U-Roy and one night for the first time ever they played dub versions with U-Roy deejaying over them - the crowd went nuts and there were only 4x dubplates which got repeated all night with U-Roy deejaying over them - perhaps that crowd witnessed the birth of Dub and Dancehall? This was one of the originals (or as close as I can find on youtube) And the Tubby Dub with U-Roy (or what it became at some point)

Oh, hi! (oh).

Listening bars seem like a good way to hear music on a really good system https://www.google.com/amp/s/blog.discogs.com/en/top-5-listening-bars-in-the-uk/amp/