krispn

I couldn’t compose bass lines like Jamerson if I was being held at gun point let alone drunk!! Phenomenal musicality and music IQ that man!

Yeah I think just having played with three new to me drummers is such quick succession really brought it home. A good band/rhythm section or whatever works best when they are listening or understanding each other. I’ve overheard people saying me and Gig 1 drummer are tight - y’know when you over hear punters at gigs waffling to mates in between songs and to be fair we do play well together. Some of the best musicians I know are drummers without a doubt. I think they hear more of the band or think more about the whole band rather than just their moment in the spot light .

No he left of his own volition. Kenny is magic but sadly moved on from the choir gig. I’m off at the end of the month. I’ll pass on you said hi when I see him next.

So I've been in a funny predicament where my main pub band (Gig 1) has been getting a new, dep drummer up to speed while our main tub thumper is doing the final studies on her masters. My other main gig (Gig 2) has had a new drummer come on board since Dec (and a third band I've recently joined has a recently acquired cajon player)! I had a written out a big thing but condensed it into this simplistic question... What makes a good drummer? Is there a difference between pocket and groove? From my experience the new drummers, the dep and our new Gig 2 drummer just don't have that same magic. Gig 1dep just ain't listening and he's drummer away to his own agenda and not really listening to me or how we play as a band. He's a regular on the local circuit but just not a fun guy to play with. He's been shown the door following the last gig and I hope a buddy of mine can fill in for the remaining shows! We want to have a good dep for those occasions where our regular drummer night want a break so it's important we get someone who listens. Gig 2 drummer is competent but I feel lacking a little something...consistency maybe. Kick patterns aren't quite locking in the same and as I'm planning to leave this band at the end of the month I'm not too bothered about doing too much but still want us to sound tight! I know with both 'my drummers' in Gig 1 & 2 we 'listen to each other' and lock in really well. For all the fancy stuff Gig 2 drummer can and does play it's always tasteful to the song and him I agreed the most satisfying song we played together was in an original tune where it's just a really simple 4/4 beat with an equally simple 8th note low E pounding away which just sounds massive and fit's the song perfectly. The thump/punch we get with that locked in is just smile on the face stuff... and we both know it - we can feel that connection between kick and the bass and it's powerful. In Gig 2 we have tunes where we play little things our way and it just feels like it grooving hard even on bog standard tunes. Again I believe it's the connection/understanding from over 10 yrs of playing in various original bands and side projects together. So what makes a good drummer? I know familiarity is a big factor and I can't deny that we probably all play better with people we've know longer. I'd be keen to hear your thoughts!

If you see a 4 string passive going for a good deal anywhere let me know

Not quite. A passive tone pot rolls off only where as a tilt eq servers a different purpose. Think a tone pot with pivot set at say 400Hz and the ability to boost low or highs. I have one built into my amp which is labelled room Balance. It allows for additional ‘tuning’ of the eq around this pivot to accommodate dark or bright sounding rooms in my amp. Googke tilt eq or you tube and you’ll find more eloquent descriptions than mine 😀

My simplistic understanding is a Tilt eq has a 'set point' and like a seesaw when you favor one side or the other the tone is effected at that set point to more bass or treble

That's what has piqued my interest although I should say I'm very happy with my current comp this might add an extra dimension.

Might be worth taking a punt on the Stella.

@Al Krow maybe you could ask the guy from becos who contacted you what their inspiration was for this pedal? I’m guessing that it’s another original circuit design. It does appear to have some good features.

Astute as ever 👍🏽😀

Look up the Fatso compressor or the distressor 😀

A bit of a Fatso type thing perhaps?

A funky ducks derrière 😛

Tone styler and a volume control! There you go, Job done!

It is one dimensional though. It all sounded the same to me Sure play with different techniques but the sound was pretty much ditto. I love Joe Darts playing and I've been listening to him since his playing on 'The Olllam' album 7 or so years ago.

That D Bird is such a well designed rework of a classic! I was very close to ordering the import version a while back!

It comes down to how it works on the gig and the perceived numbers might not really mean anything you hear it in context. Theoretically having XXkhz might be a good thing but in fact it could turn out you don’t want those kHz at all. Maybe because my two main gigs have keys and fiddle I’m not too concerned with a zingy too end and I don’t need all the clank definition as other instruments are happily filling out that frequency. We all have different tastes and needs in our bands but for me it’s about the low end and zingy is not a requirement just now.

I’d agree that the best choice would be a keys synth and there are many great options out there for the same cost as the holy trinity of bass pedals which one would need to achieve those sorts of tones.

Well I just sold one but yeah. It’s the best 5 string I’ve owned and like I said I’d love to try the 4 string version and a Dbird too.

‘Android Roadie’ is tentatively scheduled for 2024

The thing to remember about the super p is that it’s the way it feels and plays which is the wow factor - putting the fanned frets aside it’s under 4kg for a 5 string it’s immensly playable and comfortable. It sounds familiar sure but then it’s even across all strings no dead spots, the multi scale means each string ‘feels’ good under the fingers, the tension of each string feels balanced and comfortable. Make no mistake it’s a wonderfully built instrument.

Whats peoples experience with these things live? I was asking in the pedal board thread but got no answers - I'd love to hear some sound samples from gigs/coping the tones from some 80's classics especially in the context of the OP's question for an 80's pop covers thing rather than based on what's on the spec sheet. C'mon synth lads let's hear what we're missing out on in 'no synth pedal' land * I'd have loved to have a pedal which cop'd some synth tones as I could have used them in one of my bands. The SA does look interesting*

This was a stand out at namm to be sure its hard not to get hard at the prospect if this type of pedal hitting the market but like Joel says he really wants to get it road tested to make sure it's durable. Impressive though!