krispn

DG Hyper Luminal is a great pedal too but you’ll get numerous recommendations and be down the rabbit hole for ages 😀

My recent experience with the C4 is if you need a synth sound on a song but don’t need to be flipping between presets during the song a C4 would be fine preloaded with your 6 preferred sounds. Simply have it ready to go and then flick to your preferred sound before each song. It’s not ideal for on the fly changes without investing in midi kit.

Just had a very hassle free transaction with PPP. Deal with confidence!

Definitely Houses of Parliament worthy for sure!

The sounds out of the Big Al speak for themselves. It’s a very good sounding P bass, good thick neck sound series and parallel MM sounds. And that’s just in passive mode. If you’re a player who appreciates a bit of on stage aesthetics as well as a well made and playable instrument the Big Al would fit that bill. I think MM should be applauded whether you like the style of the thing or not for actually doing it.

I added a JHS Colourbox v.2 to a tube di to achieve a similar thing. It’s a great unit but it’s a spendy option.

My old SVP pro had 5 valves too. The CL pre, I think had only 2 valves.

Sorry I think I’m confusing the CL preamp

I think the pro is very similar if not the same.

I wonder if Fender ever produced a fan fret if that perception would change… of course it wouldn’t. Fender would be berated for doing something new, discontinuing the actually new product while simultaneously producing a new line of all the same basses for even more money than the previous iteration of the range. * I love my fender but just saying

If I may... you're comparing their 4 string scale to their 5 string for overall scale length so that's maybe contributing to the "inconsistency" My understanding is that the Super P4 scale length was to retain a slightly more tradition feel but still using the fanned fret system for the benefits it imparts. The scale length on my old SP5 was a 35" on the low B string and a 34.25" on the E - a 35" B string is quite the norm on anon-fanned basses. The D-Roc which has a 36.25 scale length on the E but 37" on the string B so a similar ratio to other DIngwall 5'ers and mathematically in line with the overall fanned fret ratio Dingwall uses? I owned and gigged a Super P for 5 years and it is a bass I would own again in a heartbeat (and a lottery win). I think of the Super P as if a P bass had done a 6 month boot camp - it is a bit tighter, a bit more muscular , the pick up was neodymium and naturally a less vintage sounding unit etc. but it was still a P bass and a great example of what a modern design can do to inject a new lease of life into a classic. I have recently taken ownership of a DBird and it has a slightly longer scale than the Super P did but it's still eminently playable and comfortable to wear/gig. It has that low end clarity, a tightness to the overall sound and is a well engineered and well made bass. Switching back to my No.1 - a P bass of course - they don't feel the same and they play differently but I wouldn't expect them to or want them too. The scale length and neck profile make the P a littler 'easier', spongier in feel and of course more traditional in its sound but I really enjoy playing both. I have been using the DBird on all home playing and gigs/rehearsals and it definitely has a bit more clarity and cut live, maybe it stands out a bit more rather than 'dissolving' into the mix the was a good P bass does (I often think of my P bass like a low/low-mid 'musical stock cube'). The DBird is a passive bass and like with my P bass I can make it sound more old school quite easily with a twist of the tone knob and it's 'middle position' sound is as workable a P tone as any other P bass out there I've gone on a tangent but fanned fret basses don't have to compete with regular fretted bass. They offer some advantage to some players the same way a MM bass isn't for everyone or when a hollow body, short scale is the only tool for the job!

If anyone else is struggling with their ‘64 pm me as I might have some other options you’d be interested in 😀

I played the 210 500w version on a gig as it was the supplied back line (no ext cab so 350w ish) and promptly went out and bought one locally… I think it’s a great combo. All controls at noon is a great pedal friendly sound but the amp has enough variation with the onboard ‘voicing’ switches and the built in drive to make it fit in with a range of styles. It can sound modern and scooped or quite vintage and low middy all just with those switches. I can imagine paired with an ext cab it would enhance an already great unit. Maybe it’s because I played 212’s for so long but I find the 210’s to be a great sound and by virtue of having a 2xx over a 1xx it will help with perceived volume and projection. I’d love to add the 115 but not because I’m lacking volume it’d just be cool to have that ‘stack’ vibe! I was gigging mine at the weekend and although we had foh support I was running my master about 11 and gain at noon, all controls at noon in fact and was punching through nicely. I did have a pedal board with me using some eq/gain and occasional drive but I wasn’t pushing mad levels of addition volume - got a message from the drummer yesterday saying she liked the sound (I was using a new to me bass for that gig) she felt it cut through and sounded clear. I had no issues hearing myself either! *The pic was taken as I was setting up

I actually bought that power amp years ago but it was damaged in transit and didn’t work. I was gutted.

I’m using the JHS Colourbox v.2 and hyper luminal for the studio styled comps