bassman7755

Have enjoyed in the past playing in a commitments type soul covers band and a blues covers band even though I don't especially care for either type of music (being more of a rock/metal guy). Thing is you get gems in every genre that make it worthwhile - I enjoy playing Tears of a Clown as much as I enjoy playing Enter Sandman. RE the original post, would jump at the change to play Dancing Queen for example - what a fantastic bass line.

This is kind of where I am, people definitely enjoy a band that has a good balanced sound with good sounding instruments more even if they don't consciously know why. However in this day and age theres really no reason to have to "tap dance" - just get a decent processor board and change the patch.

The money-no-object option: https://www.thomann.de/gb/eich_amplification_t900_black_edition.htm I have its predecessor the techamp puma 900, absolute beast of an amp, ideal as a small super powerful small/light power amp. I believe these amps are also design to be flat response with all the controls at 12 so you could just centre everything and plug in the front as usual. Which reminds me, I've been meaning to do a class D vs other sound test at gigging volume, see if people can tell which is which.

For a solid state amp the baked in tone is in the preamp though, so if hes going into the effects return or line in its just getting the power amp section which is usually some off the shelf module or follows a standard design.

Massive fan of Larry and Travis.

Yeah I tried boiling and it works but it stresses and corrodes the strings, only time Ive ever had a bass string breakage was with strings boiled multiple times.

I have two bases I for which I keep 4 sets of strings in rotation - 2 on the basses and 2 soaking in a methylated spirit bath. Swap out a set with the freshly cleaned set about once every 2 weeks, the 4 sets last almost indefinitely and I get a very consistent bright sound, the meths doesn't bring them back to absolute new but its good enough. Using headless bases with double ball end strings makes the constant swapping very easy and doesn't stress the strings.

So I decided to the try to get a sound on the zoom as close as possible to my sansamp VT Bass. Of course the zoom sound is based on the BDDI model so not the same pedal, still an interesting comparison though. Both were played the same input using the zoom looper function. bassexample1.mp3 bassexample2.mp3

Just bought a B1 four myself, fantastic bit of kit, cant understand why every bass player on earth doesn't own one really, at change from £70 delivered its a no brainer, even if you use to just audition various types of compressor then buy the dedicated pedal (although I recon the models are as good as the real thing in most cases ...) .

I still use my amp/cab on stage for that same reason (among others) , its just that I dont hear it (much) as I'm using my own IEM feed.

You can also do that providing your own IEM feed via a small mixer with inputs for your own di/line and house mix and/or an ambient mike. It may sound like a faff but I keep it all packed away pre-wired.

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I use IEMs on stage, the stack is there for 1) aesthetics/vanity 2) the rest of the band to hear 3) the audience to hear if they are right in front of the stage. Even wearing the IEMs I do like feeling the rumble of it though so I guess thats 4). I take an IEM feed from my own amp and get FOH to give me an everything-except-bass feed and I then balance the two myself. If playing without FOH or at rehearsal I use a reference mic to give me some ambient. Could never go back to trying hear myself at high volume through ear plugs, IEMs are such massive improvement.

Previously a big fan but the Cory Wong collaborations do nothing for me, distinctly average guitar playing, dumbed down chord progressions (compared to previous stuff). Seems to be just fairly bland funk now.

Dual connectors on the amp or speaker are pretty much universally parallel connections though.

I'm happy to play absolutely any song except ... Dirging (Rocking) in the Free World, and anything by Oasis.

For practice I put my bass and guitar through my computer into either headphones or a pair of fairly hefty floor standers. Theres a really nifty prog called Cantible https://www.cantabilesoftware.com/ which is basically just a pure VST host without all the usually DAW guff so with one click I can get a VST effects and modelling chain loaded and running. You do need a decent low latency audio interface to do this though, I use a zoom UAC-2. VST effects wise for bass I normally just run the free sansamp clone https://masters-of-music.com/tse-bod-v3-0-released-free-sansamp-bass-plugin/.

I think your hearing the effects as less prominent through the amp/speaker because your losing some highs compared to with headphones. Also I don't know if the paradriver has that baked in speaker sim like a lot of tech21 stuff so that might be losing more highs still.

Both look decent amps, I would get cranking the low end up and see what happens.

It might, but for any pub/club gig band situation I can imagine you are likely well inside the performance envelope of your current cabs is what I'm saying - you could almost certainly just EQ the difference so long you have ample headroom in the amp. Be interesting to know what amp you have actually.

BTW I assumed you already had 2 ashdown cabs. If you only have one and the choice is between another ashdown and going to BF then thats a more nuanced choice. The general rule of thumb still applies though - if you like the basic sound of the cab you already have and just want more volume then just a second one ...

It seems I always seem to end up asking people the same question - what problem are you trying to solve ? (other than satisfying your desire to buy a shiny new toy that is).

In my view if you have got 2 half decent 2x10 cabs (you've got grands worth of cabs there after all) and you cant get the volume and / or depth you want then the problem is probably not the speakers, and I say that as a BF user and fan.

No speaker is going to fix the awful acoustics of your average wooden floored village hall. That said I wouldnt want to discourage what looks like a significant upgrade to an ST which certainly isn't going to hurt. A more radical solution would be to consider taking the DI out of your amp into IEMs (might need a mixed to buffer it) which will solve the problem of you hearing yourself at least, in a noisy hall youl also probably get enough bleed through of the rest of the band.

Look at it this way - worse you are at it the more beneficial it will be. What material are you studying ?. Back in the day I did part one of David Burges relative pitch course which was hard work but very beneficial. If I was doing something now I would probably go for Rick Beato's ear training course https://beatoeartraining.com/ I also highly recommend studying some so-called "functional" (or sometimes "contextual") ear training which focusses on relating everything you hear to a tonal centre. To explain the difference: classic ear training teaches to hear the sequence C - A - G as a 6th up followed by a 2nd down whereas functional training teaches you to hear it as a tonic then 6th followed by a 5th (relative to the the assumed tonic C). Bruce Arnold has lots of good material in this vein https://muse-eek.com/category/ear-training/ EDIT: I wrote this assuming you are taking about actual ear training and not transcription (learning or analysing a song by listening to it) which is a completely different thing.