krispn

I keep looking at stuff and then immediately play my 4 or 5er and the gas subsided...just! I'm not sure how long I can hold off tho......

I should have a loop pedal kicking about if you need a lend to try that out in your set up.

If your 'smaller board' could fit a looper which you could then patch in the other board as and when? Might be a solution which would be, dare I say it, less hassle?

If it's the Baron Model T I recall a guitar shop had one which thay couldnt shift - had a managers special sticker basically saying make us an offer! It was a fine playing bass with a mids 'boost' control. I just thought it was a bit big in the body tel bass style but i'm only wee so it might be a good fit for ya?

I'd have swung by your gig this weekend but I'm off up north but keep me posted when your playing again and I'll come have a listen. It's a fine looking bass and judging by the sheer quality of the two NBD threads these guys are worth checking out!

I may start pushing for two channel bass di on my regular gig

Next rehearsal take one song where you lock in and try a couple of takes with different sounds (have maybe 3 or four different eq settings and write them down) - try another song with those same various settings record it all on you phone if you can (or all of you can) listen back with headphones and sus out what it is you're liking or disliking about the sounds as a band and specifically as the bassist - have the others do this too. An important part of being in a band is having a sound -collectively- knowing where you'll fit in the mix. At least one or two rehearsals should be spent working on that if you're kinda into sounding as good as you can. I'm sure the OP has an idea of what he likes but that kinda has to balance with the other instrumentation. Example In my covers band the singer/guitarist who claims to be have been a soundman for years thinks turn up the bass is what a bass needs in a mix but totally neglects the mids - what they mean to a mix, how they impact on the tone of the band or how cutting frequencies in this reigion can mitigate feedback and let all instruments be heard and have thier own space to breath in a mix. He only recently realised the desk he uses has a sweepable mid channel and a volume for that channel and couldnt figure out why the fiddle kept suffereing from feedback! To be fair he's a bit of a chump Bottom line is use rehearsal time to experiment - its a known thing that P basses sit well in a mix because of their mid's as much as their bass....or join a dub band Good Luck sir!

I'm digging the sound - not as muddy as the T Bird sound I'm most familiar with (tho I've not heard some of the highly respected after market T-Bird pick ups out there) I could totaly rawk one of these in my pub band doing folk/Irish covers

The review was from the link I posted - not my words but stuff that I did notice but said so much more eloquently than I could have. Im seriously thinking about another one (currently using a Basswitch for preamp/eq/di) as my drive unit - might be a good choice as they are really solid.

The Tone Hammer is a totally different animal. With the AGS off, it's just an uber clean EQ with gain boost. Very high quality, and the sweepable mids are fantastic. You know how everyone raves about the Sadowsky outboard preamp/DI pedal. I had one, until I got my Tone Hammer. The TH covered the Sadowsky thing VERY well. The low control has the same 40 hz setting with the AGS off, as does the 4k treble setting. The sweepable mids on the TH are just wonderful, though I do wish it would go up to about 2k. No big deal. The EQ on the TH is flat when it is engaged. When you also turn on the AGS, at the lowest setting, there is no hair on the notes at all. Again, NO hair at all unless your bass is just SUPER hot in terms of output. What does happen when you engage the AGS is that highs are immediately rolled off in a way that simulates a vintage tweeterless cabinet. So the tone gets warmer sounding off the bat, even though the lows and mids are still the same. The Treble control now acts more like a Presence knob does on the Sansamp stuff. It dials in grindy mids in the 2.5k region. Very slick. The lows are tightened up a bit as you boost them, so instead of getting really deep and boomy, they get fat and vintage. Again, still no hair on the notes because the AGS gain is fully counter clockwise. The mid control still allows you to cut/boost mids where you want them. Very slick. Vintage tones with no hair. As you add more AGS gain, the tone gets warmer until you get some hair, and then it starts overdriving. With the EQ flat, the overdrive tone is VERY mid-oriented such that it can sound a bit nasally and harsh. But remember, this is with the EQ flat, and most folks who are used to hearing a classic tube amp (think SVT for example) should note that an SVT is no where near flat. There's a mid scoop. So to get rid of that nasally midrange in the TH, you have to cut mids as you boost the gain. Setting the knob around 2-3 o'clock puts the mid control around the 750 hz mark, where you'll get some classic SVT'ish mid scoop going. Start cutting the mids there to get the tone you want. Cut to anywhere from 10 to 8 o'clock, and you can pretty much close your eyes and thing your running through the BDDI and not the Tone Hammer. The cool thing is that you aren't having to use a Blend knob at all to control that mid scoop. Just scoop the mids as deep as you like to get the tone you're after, and then adjust the Treble (which now more like a Presence, remember?) to get the amount of cut you want. Then, dial up the bass if you want it fat and deep, or cut it back to keep a thinner tone. Very slick, and way cool. Here's another trick about the TH that I use a good bit. I'll scoop the mids ALL the way out around 750 hz for a rock tone. With the Bass/Treble boosted to around 2 o'clock, this is very similar to the "Fat Tube" setting from the BDDI manual. But the cool trick is instead to cut treble and bass back. I'll set bass to 11 or maybe 10 o'clock, and cut treble all the way back to 8 or 9 o'clock. The result is a very warm, lower-mid dominant tone (because the upper mids and lows are cut back so far), with a subtle, understated top end. It's very B15'ish and sounds awesome with a P bass or jazz with flats. At this point, if you want more depth, rather than boosting the bass, you move the mid frequency knob clockwise, which pools out upper mids and articulation. If you want more of that, then you move the knob counter clockwise to bring those upper mids back into the tone. The highs and lows stay the same, so it's an easy way to adjust your tone on the gig to get more/less articulation in the mix. These are just a few examples of what the Tone Hammer can do. I'm a huge fan of it obviously, but I came from being a BDDI user for quite a while, and I just never could bond with the new VT pedal. I still love and have a deep respect for the BDDI, and while I don't use one myself much anymore, I know I can always make it work. The Para Driver I wouldn't bother with myself. A lot of folks around here have slammed the Tone Hammer because you can't use the AGS like a second channel, where you can engage/disengage overdrive at will without causing volume differences. I guess I can understand that, but really that's not the Aguilar'sdesign intent. Instead, think of it more as a single channel tone shaper, that will "hammer" (pardon the pun) your tone into a wide variety of directions. It just takes a little time playing with the controls to figure out what does what. I still learn new things about it all the time. It's not that it's complicated, but rather that the AGS circuit ties in very closely to the mid control, so changing the mids affects the overdrive tone, and the more gain you add, the more the low end tightens up to prevent things from getting muddy.

Read this for how the tone hammer can be used as either a clean unit or a drive channel its post 16 by Eublet I've added the section I refered to in the next post. Makes good reading! [url="http://www.talkbass.com/threads/sansamp-para-driver-vs-aguilar-tone-hammer.755083/"]http://www.talkbass....-hammer.755083/[/url] Few years back when I had a tone hammer I sat and went through all this stuff eublet said in his post and you can hear what he means clearly. I'm now tempted to get one again and try it with my current rig!

Video up on Premier Guitar with sound samples- can't add link from work pc but its on their YouTube channel

Who was the band ?