krispn

They had two just delivered a few hours before I got there - purple and the turquoise flake They had quite a few dingwall's in stock NG's and such but maybe just not updated their site.

I'd be tempted to pick up a D Bird now before the revised model ships. GuitarGuitar now stock them - played one a few weeks ago in Glasgow! Sounded and felt great!

Tut tut tut!

I had a three way once... oh wait wrong forum!

One can’t deny the influence of Fender and Gibson. Yamaha designs aren’t that far removed from their counterparts and clearly they have been influenced by these companies, their SG guitars even have the same name as the Gibson inspired design. What have Dingwall been getting away with for so long? I’m baffled by this statement as Dingwall aren’t famous for the D Birds and have been innovating for many many years and pay for their use of the fan fret and credit the designer.

Crowdfund gas?

Ahh cool!

@dannybuoy you could always patch the TH in via the fx loop on the Stomp and have it available if the gig required both types of sounds.

I’m not so keen o the farty sound. If you can smell the tone it’s gone too far!

I hadn't thought about the hpf good thinking cheers Many recording, live and studio guys value a cleaner bottom end to retain the bass and focus the drive on mid and higher frequencies to give a good balance of clean, clear low end and a bit of cut up top cut - aclean DI and a mic's cab for instance. The Grizzly might well sound massive in the lows if they're 'driven' but this isn't always desirable. It's true drive pedals do 'compress' and depending on the application it maybe better to have a cleaner low end but as ever depends on the application soound one is aiming for. i'm confident you have enough of a concept and opinion on compression now to know what it does and doesn't do and how much a drive pedal is actually compressing versus an actual compressor. You've been through quite a few of both

I can't take your word for it as you've not gigged it yet I'd be happy to give it it's live debut if you fancy sending it up but it'd likely be quicker to take it to your next gig! I am out twice next weekend though and I'm always up for trying new kit

I think the boost from the AGS mode especially with the gain turned up past 0900 was possibly more than most folks could find usable but if the AGS mode was used as the go to sound ratehr than going between AGS off and AGS on then it's easier to balance against the pedal off volume. I basically use the TH in two ways. I have the basic tone I like set up with the AGS engaged and would leave that on for the whole gig as my basic sound or I have a clean setting on the amp and compliment it with a bit of eq. I was gigging the other weekend through a house amp and was able to switch the amp eq off (it was an Ashdown combo) and rely on the TH for all my eq. Worked well for me.

A lot of folks on this forum (and in the studio) may argue that a clean low end on a bass tone helps to retain some clarity especially live where many folks identify unruly low end to be a bit of a bane! You should get the grizzly out on a gig and hear what it's doing and report back. I really like the Ed F video where he gets that Motown sound but with the G&L bass it all gets a bit too much the more gain he adds but I understand the G&L pick up's are hot hot hot! I've not used the Grizzly live so I'm purely speculating as to what it would do but driven low end has it's place and while pleasing to the ear messing about at home is a world away from balancing a live mix. Get it out for a gig and report back! That's the stuff we all wanna hear about not quoting the sales pitch, spec sheet and what the tech is doing. Real world experience is where it's at and I've no doubt it will sound great when set up just so So does the HX Edit nudge ahead of the Zoom editor now you've had a chance to properly compare the two? As ever it depends what you want to achieve from these three units. Both the TH and the QS are kinda redundant if you have the Stomp as are most pedals - if you figure out how to program the Stomp to suit your gigging needs there's only one or two 'other' pedal's you might 'need' depending on the gig - presuming you want to gig the Stomp/pedals that is. If you were just using a TH or QS on a gig for tone shaping/DI purposes as a stand alone then yeah they're good pedals to have on hand but again the Stomp can do pretty much all that. From my perspective... The TH can do clean eq as well as 'amp type sounds', a bit of that BDDI/Ampeg type thing but the Stomp is getting a BDDI patch in the next update, it already has the SVT and a B-15 amp models so that might leave it redundant for you as you have Stomp. The Q Strip can do lots of eq options and a bit of 'speaker sim' too. The Stomp already has a far greater range of speaker sim options with far greater control over the parameters than the Q Strip can muster. To be fair the QStrip isn't designed to compete with the Stomp. Include the Stomp's ability to add more 3rd party IR and IMO that rules the Q Strip redundant on a pedal board which already features a Stomp (masses of EQ options between the amp sims and the eq options- You could set the Stomp to recreate the QS eq points or any pre amp for that matter). The QS or TH could always be used in an fx loop on the Stomp if it was bringing a unique sound but I feel it won't add anything over and above what the Stomp is doing in practical terms but we all have different preferences/needs etc. I was a bit confused by the tube growl thing and was led to believe by many on the Yamaha mega thread that the BB10XX had quite a 'big' sounding P pick up with lots of bottom that was anything but 'traditional Fender' P and that is a real selling point for many. I was also under the impression that the new BB series were not as full on and possibly more subtle in their voicing that the older BB's but again I'm not in a position to say with any authority. I'm guessing the pre amp is doing something but if you can fire off some audio that would help me get my head around it better...maybe! Anyway there are some many adjectives used to describe sounds and tones, all these things, that it all becomes a bit subjective as are my opinions above.

@Al Krow You really should get your hands on the TH and give it a go - it has some really useful tones and while it might not replace your current options for live dirt you may find some very usable tones lurking within! How are you finding the Grizzly out in the wild with the bands? Do you notice the low end as remaining quite big and is it over powering on stage? I've edited your comments (added below) to be more in line with how the pedal operates and apologies if this was lifted directly from the marketing/sales dept./advert - it is why Aguilar got grief for the TH as much as praise! Aguilar got a lot of stick that the TH pedal had such a notable volume boost between the two modes but in reality I think they designed the pedal to be 'one of two things' not 'all things to all players'. It has a clean eq and could be used as a tone enhancer or it could be used in AGS mode as an entirely different beast but not for both applications to be foot-switched between mid song which is how many folks initially approached it and they weren't wrong to think that from the marketing of the TH. Our natural reaction to a pedal with the feature set of the TH is that it should do X, Y and Z because of our initial impression of it but in reality it can do X, Y or Z which maybe wasn't entirely clear upon first impressions and again Aguilar have only themselves to blame! The TH has three states so to speak: 'Off' - duh! 'On without AGS engaged' - works as the standard on-board OBP-3 pre-amp with mid freq control. 'On with AGS engaged' - the inherent character of the pedal changes as does the interactivity of all the controls and it is a very different sounding pedal with the AGS engaged. The whole unit becomes more of a tube amp emulator akin to a BDDI for example but possibly more versatile. The post I put up way back, originally created by Eubert on Talk bass, identifies how the TH eq reacts in AGS mode and is incredibly useful in understanding how the pedal can be used to get the best from it. I suppose in the same way any standard pedal which lack's presets can be set up to have different sounds so can the TH it's just that because it can do such a wide variation of sounds from pristine slap tones to old school B-15 ish tones people naturally lament not having them instantly available at the tap of a foot-switch! I'd be keen to hear this first hand in a demo as I'm struggling to understand how the P pick up clean into an amp is doing tube growl unless excessive low end is causing some overloading on the lows? As you know I'm not overly familiar with the Yamaha pick ups in the 10XX models.

Yeah my boards only ever really had a drive or two of some sort. It’s really depended on the gig but over the last few years it’s been an eq/preamp/DI unit of some ilk, a drive and a comp. Most gigs don’t require me to have much more than that. In most of my bands in fact I’ve always had a variation of this basic set up. Maybe a bit of a A/B switcher to achieve variations of drive but nothing really that complicated. It’s worked well and like Lozz said above the more there is the more can go wrong. My pedal board has always basically meant I could show up to a gig and if the amp were to go down mid gig I could still carry on with a decent enough sound to finish the show with no dramas. Different approach to some of the mega boards people seem to use but different application I suppose! I find a lot of these pedals board threads it’s about having the latest bit of gear rather than the most functional but again my approach to pedals has been about what I perceive I need to get through the gig should the amp die while belting out out the R-3-5 rather than sounding like 1970’s sci fi or a dystopian future😀

If folk have them in stock then they’ll remain so until sold out. It’s not until they’re gone you’ll notice they don’t come back.

Or the Edinburgh Tattoo!

Yup with my modded p bass notch 3 and 4 work really well with that pickup. There’s great sounds across the full range but it’s got a really nice mid thing happening. It’s great upgrade especially if found for a bargain price.

There’s a real sweet spot where the mids and the pick up just come into their own in my experience with the tone styler and I think that’s the secret with them. You’re fine tuning the tone to where best suits your ear and the bass/pick up which could happen multiple times with the tone styler.

I found playing the ‘Grunge’ classic’s in drop d on a 4 string way more fun and rewarding than playing on a five sting on the fretted low d. Just loses the feel of playing in drop d. Killing In The Name Of is another one which played on a 5’er is much less fun than on a 4 string in drop d!

The advantage of tuning a 4 string down a half step to match a down tuned guitar is that you get the ‘freedom’ of open strings especially if the songs are quite riff-y and are written ‘in E’. Playing in Eb on a ‘standard tuned’ 5’er means that most notes will have to be fretted and you can sometimes lose a bit of the feel especially on those big riffs. Tuning down might be preferable to buying a new bass unless you’re after a good excuse to make a new purchase 😉 A side note...The Smashing Pumpkins famously wrote their song “Today” in the key of Eb on guitars tuned in standard tuning not tuned down to Eb which many people assumed at the time.

We play finger style at the bridge so that my account for it. Closer margins at the bridge can leave some players feeling cramped due to a familiarity with the 'traditional' Fender spacing. Nut width seems more important to some up at the skinny end and that's when 'skinny' 'baseball bat' and 'chunky' start getting used.

No I'm not playing this year but i think one of the guys I work with might have been involved in organising it (he and his brother have been involved in previous years I think) and when I saw the poster at work I thought I might catch you guys. They're usually a good night out!

Jose I hope to see you guys at the SAMH gig at the end of the month - will you be providing the bass back line?

@CameronJ I think this was always gonna be a ‘limited production run’ model. In interviews JMJ has said that there isn’t a high margin on these models so maybe fender are shifting to the new range as the non relic alternative. What he said ^^