Sibob

Sure….but look at it…it’s hateful 🙃 Horrible burst, only maple f/b available. And I know it’s only a render….but what else am I basing this blind purchase on. Gimme a Pino Artist from a retailer any day! (Not that I’m in the market lol). Si

Exactly, it’s not as if they’re expecting to sell 500 of them at the Icon price. Honestly, it’s probably just a smart way to (partly?) fund Pino’s involvement. Let’s say he’s conservatively taking £30k for his involvement, that’s 50% of the RRP for the Icon series….which is now already paid for. He’s probably also on a royalty for the Artist series. So yeah, all good for everyone I’d say, he’s earned it! Si Ps (I understand that £60k is not the net profit, but you take my point).

Well I was referring to the £3799 for a non-signed one (only just read up on what’s available). But let’s be honest, once ANYTHING is signed, what’s ‘reasonable’ goes out the window. If it sells, it’s reasonable to someone, which then somewhat validates the pricing…because then it’s simply about quantity. Note: Just checked, the Icon series is sold out. Case rested. Si

Personally I think the price is perfectly reasonable for what it is. Do I think it’s accessible to every player, of course not, do I think they’ve priced it towards Pino fans with a decent disposable income whose main hobby/business is ‘BASS’? Absolutely, especially at the quantity they’ve made. Without having read about the release at all, I assume it’s 10 pieces of each of the fretless and fretted, if so, they’ll sell 10 of the fretless all day long at that price IMO. The only part I find odd is the fretted version. I get that more people buy fretted instruments, but it’s got nothing to do with Pino’s legacy on that particular instrument. Personally I’d probably have just made the fretless and increased it to 15 or 20 pieces worldwide. But what do I know 🙃. I too found the mismatched body jarring, and it would be unforgivable at this price-point on any other bass. However, from an authenticity standpoint, it’s basically the same as relic’ing right?! You either love it or hate it 🙂 Si

Seems to me that it’s a perfectly reasonable and on-topic response to the current thread, not ruined at all, let’s move on. Si

Because the Stomps balanced outs are only 1/4”, you’re likely connecting it to the Line In of a desk, which doesn’t receive Phantom Power. Even if you’re using a TS -> XLR cable, because the pins are not exactly the same, what the HX Stomp then receives in the way of phantom power isn’t damaging, although I’ve heard it ruins the tone/signal. All that to say that you’ll HEAR that PP is on before you do any damage. That said I’d always consider adding a DI box to a small Stomp pedalboard purely because then I’m not relying on finding/carrying a fairly specialist TS -> XLR cable and can simply rely on bog-standard XLR cables. So why not run the JDI after your Stomp, best of both worlds and great mini board! My backup setup for a while, need to replace the Stagebug at some point as it was on loan: Si

I suppose it’s true in-as-much-as your front of house sound. Onstage, as you say, with cab/amp variations, it’s a different story. Si

I very much agree with this. I have a Stomp too, and it’s an amazing tool, but it’s use and calibration doesn’t bring me joy like messing with a bunch of individual pedals….so yeah, got to go with what adds fun to your tonal journal! For sure! Si

My opinion on all of this is this it’s more likely an issue with all the drive pedals you have. If you’ve come from playing guitar, then those pedals may not be voiced brilliantly for bass. What effects/drive pedals are you using? Honestly, all the amps you mention are of similar quality and have the ability to get a good tone, they’ll all sound pretty similar with fairly small EQ changes. The Markbass for example, some people talk about the MB ‘character’, but with the filters off, I’ve my LM2 on an oscilloscope, and it’s basically flat. Anyway, all that to say that a preamp pedal likely won’t resolve the issue, not least because not all FX loops are created equally, some are post EQ (great for bypassing the amps preamp and just making use of the power section), but some are pre EQ (like Markbass), meaning a preamp pedal whether in-line with the amps input, or placed in the FX loop, will simply be adding additional EQ to the amps EQ. So, my personal advice, pending knowing what other pedals you’re using, would be to buy an amp that you can take around to all rehearsal rooms, because a consistency here will help IMO. Then review all your drive pedals in the context of that one amp, and start building a tone you enjoy! Si

I didn’t get to try the SGFX version, I had tried this Jnr and liked it, and didn’t want to then buy the SGFX if it didn’t have what I liked about the Jnr. But we’ll see how it goes! Si

I really like it (as you’d expect), it’s way more characterful than the MXR (which is either a good thing or a bad thing for you haha). The MXR is very transparent, which is great of course, but a different result to what I want in this case, which is wanting to thicken things up and add some ‘magic’ while also taming some heavy pick playing. Si

There’s a number of caveats, but for a quick response, I’d put the MXR Octave back on the small board and run with that setup. The Stomp is extremely capable of copping all the sounds you might need. Additionally, I’d be more inclined to dump the DCX (I wasn’t impressed with either side of it) and utilize the Wren & Cuff Fuzz instead. But yeah, kinda largely depends on your type of music/gigs etc. Si

A couple of little changes thanks to @tayste_2000: Swapped out my 3Leaf Enabler for the Shiftline Olympic MkIIIs on the Nano, powered by a Cioks Sol, running the Olympic and OC2 at 12v: Swapped out my MXR Studio Compressor for the Diamond Bass Comp Jnr on the Nano+, powered by a Cioks DC5, running the Diamond at 18v: That is all for now 😀 Si

24v, 1.25 mA And this connector: Si

If that’s all you need for your musical output, awesome! You could just use one of the Pedaltrain pedal risers, the PB2, which seems to fit the Shure and the switch (if the internet is correct in telling me the 1590G Hammond enclosure is a good size for a placeholder image). I’m assuming the switch is passive, and so no space needed for power as you’re likely just plugging the Shure in directly to the wall: Si

That stickiness, according to IMA, is apparently some residue from the windings that has made its way onto the strings, having been coiled in a pack. As you say, mine also lost the tackiness after a bit of playing in. Wasn’t present at all for my gig and I had a great time. No bother at all. Si

I have some on my Lakland 44-PJ. I mirror the experience of them really not being what I was expecting, as others have mentioned, way more 'roundwound' in feel than they're perhaps marketed as. That said, for me, the texture wasn't really a make or break.....I mean as long as they don't shred your fingers right?! I would put them on par with a Nickel string, roundwound, but easy to play. My undertstanding is that IMA requested a little more left on the string than their Super Polished....so that makes sense. Tension wise, I experience them more in the realms of the La Bella RX Nickels than their RX Steels, with the latter being a little too stiff for my liking. I wonder whether the polishing process takes a little stiffness out of the string, which is perfect for my preferences. Sound wise I didn't experience them as zingy at all, I thought they were like nice played-in rounds, kinda like a slightly aged nickel (IME steels don't age as well as nickels). So I gigged them and they were great, really enjoyable to play. My main criteria was longevity, so we'll see where get to on that, IMA reckons he got a solid year out of one set, and he gigs WAY more than me....so I'm hopeful. Watch this space. Si