krispn

I used one for a few years. Good amp but some may find the eq limited with only three bands.

The TTE amp had 4 valves- 3 in the preamp and eq plus one in the tube compressor. The TTE was in relation to emulating power amp valves with the class d power section.

@Al Krow What about connecting a mic and recording the same part again? The Mesa demo looks like its being mic'd. Might be more representative?

Might be best to contact Keeley direct. I know Juan form Pedal and Effects did some play through stuff with Robert Keeley gear and Robert is sitting with him. He might say something on that video - there is the pro and the bass versions so maybe the info has gotten mixed up?

Joe has a very funky style but you whack that Vulf compressor on a (bass) track and you immediately get that distinct sound they’ve been doing for years. There’s more going on that flats v rounds. This is 50% playing 50% production imho and I’d recommend the vulf compressor demo’s on you tube to hear what it brings to the party.

Our guitarist does but i fear if I did that they'd have me out at the front of the stage and not cowering at the back in the shadows where I prefer!

True dat!

One of my gigs is a choir and band thing and the 'musical directors' always complained about the sound guy but they kept using him? We consistently told them to find someone else or us the in house guys whenever possible to compare. I think they might now default to a new guy it gets tricky though as we have to balance a full band volume and about 8-10 mic'c to pick up the choir. It'd be a nightmare to engineer! I was gonna add this in my previous reply - I always come to a gig prepared and take responsibility for my own sound - I can eq myself to fit in with the band and compensate for big hollow stages etc I ask what the sound guy needs from me and am happy to be directed for the overall sound mix. Often on these gigs it's not DI'd and the amps on stage have to loud enough to fill the room which can cause it's own issues!

Yeah I totally understand the weirdness of some rooms/venues and I've played a few dodgy rooms in my time but the job of the sound engineer is to mitigate issues, especially if it's the 'in house' engineer - there's an expectation they know the room and its deficiencies. I've no idea if the tech in this case was just hired in for the night but to get it so wrong -sub bassy is how the OP described it - then some responsibility has to be taken.

Often the problem isn't what you're giving them its what they do with it. Even giving them your preferred sound they can still mangle it up. And to all the good sound engineers out there keep doing the good work!

Pic a Ric

@Al Krow basicslly the answer to that question is yes and that’s the whole business model and the point of multiple price point instruments from entry level to pro level. By creating brand loyalty there’s the lure of continuity from first bass to first intermediate bass to high end bass. A company hopes that those same people end up buying the most expensive instrument as the pinnacle of ownership and brand loyalty. A company isn’t cannibalising sales by having good quality across the broad spectrum of their product range. I may never be in a position to spend 2k on a single bass purchase but I could own 4 models across a brands range. I have no evidence to back this up other than the amount of Fender basses sold but many people starting out on a less expensive Fender see a Mexican or American made model as the natural next step up the ladder and this may well continue to those aspirational upgrades of an artist dig model of a custom shop purchase. The point of a cannibalised sale is surely as relevant in Yamaha’s case if their BB1024 isn’t three times lesser an instrument to a BB2024. Has Yamaha done themselves out of selling the higher ticket item due to the good quality at the Bb1024 price point? People will spend big money on these basses due to the perceived increase in quality, as a status symbol, their fav player uses it etc. and that’s the point of having multiple in’s for the potential customer. Folks who buy an Ibanez ‘standard’ model may never have the cash or inclination to buy a Premium model irrespective of the hardware but they could change the pick ups at any time and still be happy with their bass purchase. Many people like Bartolini pick ups and many people like Nordstrand. Your views or preferences do not speak for the bass playing community as a whole but as possibly more reflective of your own experience and the groups you subscribe to online, confirmation bias etc. Many of the guys on the Yamaha threads and Ibanez threads are indeed fan boys and as such they are more likely to have models form across the era’s and might never buy the BB2024 or prestige model but again they own three or four models across the brand/ages. They’re also a breeding ground of enablers feeding into the futile acquisition of multiple basses in the quest of some ‘legend status’ based on ownership and product back catalogue knowledge. 🤣😀 Oh and we get it you like Nordstrand pick ups😀 Maybe Ibanez will make a Prestige pj soon or is that just a NAMM rumour?

Maybe we can go as a team next time 😀

It’s a nice change from the usual glasto debate of “Who are these gobshites I’ve never heard of them!” and “Why is that pr*ck headlining he’s sh*te!” oh wait...

I’d love to help but I’ve got gig commitments otherwise I’d have jumped at the opportunity!

Yamaha have eye watering prices too but unlike Ric’s they have products available at many price points. I’m not debating the quality and playability of the Yamaha stuff at each price point but have you seen the cost of an Attitude bass, the BBNE, TRBJPII? They must be more than a Ric. The problem is you can’t get a ticket to the Ric party for under about £1500 but you can with a whole lot of other brands for a fifth of that cost. The bonus of these high ticket models like with Yamaha is (or should be if a company has good leadership) the techniques and tech used in their high end model R&D should eventually filter down into the less expensive models so the standard across the range improves and value to the player is enhanced and that’s why so many people like Yamaha for instance. The idiosyncrasies of a particular model like a Ric or MM from the other thread is what we love/hate about those models. What we value in terms of look, feel and sound and overall cool is sometimes irrelevant because folk just think they’re cool in spite of the feel tone or playability.

Not enough people know who JO was which is so true for so many great bass players. Studio legend and I can only imagine the stories he could have told. Golden age for being a session guy, the go to session guy! and worthy of every positive comment said, and to, follow on this thread. Here's To The HGT!

Or more appropriately a one eared man is king in the land of the deaf! 😉

That’s what I was saying in my original post different brands have different characteristics so it’s best to try a couple and see what works for you.

So if he’d have said it’s a killer amp? Always best to consider these things after some actual play time. I have no doubt Chopthebass knows what he’s talking about but I’d still be keen to hear one in the flesh and make the call based off that.

I was gonna edit it but it made me laugh too 😀

To qualify the thump description I’ve found flats to have less brightness than rounds and an inherent lower mid quality especially with age. A 5yr old set of RW strings will sound that way too I suppose. I don’t mean thump as sounding dead or lifeless. If anything I FW strings sound better than rounds for almost most types of music up until the heavier genres of rock

Flats do tend to go for that thumpy tone so while initially they can sound ‘bright’ most brands of flats will tend to have that duller middy thump which is the appeal I guess. It’s worth trying a set and having a go. You’ll not get any feet noise and it might be more ‘period correct’ for the glam stuff.

NAMM 2019 hits in Jan. Look out it could well happen!