krispn

@Al Krowyour ideal gigging board sounds like it would be the zoom and the wireless unit and maybe an additional drive. The rest of it doesn’t sound like it’s needed or isn’t really being used…(yet?) As @GisserD says the Boss Synth might be a wiser addition than the FI considering you’re not planning to do any programming etc for quite some time but again if the zoom is proving itself why complicate matters. Save the space and weight you know it makes sense 😀 I am aware of the irony in that I always encourage folk to try their gear out in rehearsals/live but after how many years I just don’t think of you as an effects guy and trust me I’m the same. Other than one or two units I don’t use much live either as I do t really need to. It’s like this 80’s thing… I like to be prepared to step up and fill out the sound but if I don’t have to then I’m not too fussed. Having to tap dance during a song will inevitably trip me up at some point while remembering the correct bass parts!

That needs a link surely.

You’re not the first to say it 😀 The Cali76 normally has a pedal playing piggyback so that helps out. Once I know what will be the final set up sorted I can make it fit… honest guv! Plus the C4 is just a loaner from a mate so not a regular.

My board (I only have one so it is, by default, a gigging board, creative board, amp-less board etc.) may look like this for the 80’s band. I’m contemplating swapping the Cali76 TX out for the HXStomp and using the C4 in its loop but I’ll get a play about with them both and the make a call as to what’s what. I’ve not wired the C4 up to anything yet as I’ve been trying it out solo’d. It has a lot for functionality and the octave patches I’ve tried are pretty close to the Zeus (which is an OC-2 circuit). I’d really need to try and program some similar sounding patches with fuzz and octave (or find some in the community files) and do a head to head.

I’d maybe have went VTDI and zoom and cut back on what looks to be a bit synth heavy- sounds like the zoom is already doing the heavy lifting in that front so much of the filter and synth is a tad superfluous in the gigging context. Maybe better suited to the home board which looks a bit ‘drive’ heavy. Maybe a balance of both drive and filter synth between each board would be more rounded i.e. if your not planning on doing anything with the FI for a while it’s pointless taking up gigging board real estate. I know where’s the fun but I know you don’t like to take out stuff you won’t need/gig light kinda thing. I’m not entirely sure I’ll need much synth myself beyond what I’ve said above - touch of octave and drive but the C4 will be fun and if I can load 3-6 individual sounds which compliment the keys I’d be happy. I only have the pedal on loan but I might be tempted if I actually need what it has to offer and it works in the larger context of the band. Looking forward to finding out. Covid has cause the first few rehearsals to be cancelled so far! Remind me what pedal is the Z synth emulating?

As someone who’s just been recruited to play in an 80’s band I’d be keen to know which tracks which pedals are getting used on with the pub band especially any synth heavy stuff. I’ve been playing around with a C4 synth pedal too so it might inspire some tweaks and ideas for my current set of tunes. Mostly it’s just octave and drive for pseudo synth stuff but the C4 will lwr me expand upon this where needed. Previously I’ve been using a combination of drive, fuzz, octave and some modulation in the HX stomp which has served reasonably well for my needs but the C4 is quite a step up.

I dig it

Just got my hands on one of these from a mate and looking forward to trawling the user patches for some 80’s flavoured sounds. Not sure that I’ll need that much as there’s a keys player but it should be fun to bust out a few ‘unexpected’ tones from the bass amp on the unsuspecting band😀

I did it!

Trapper is a cracking pedal and I’m very happy with it for my needs. Fender pedals in general are doing many great things with their wee touches and additional features. The comp/pugilist looks and sounds great for guitar too.

If the quad cortex can model pedals just set up a couple of the patches you use, model them then sell the board 😀 That way you can keep those patch’s for the occasional time they’re needed and if the QC gives you most of what you need for other sounds you’re laughing. I’ve no doubt DG could model any filter type pedal to be a reasonable facsimile with the amount of processing power it has - they appear to have a pretty solid approach to updates and listening to their user base. It’s a reason why I’m interested in the ADAM as a stand alone gig pedal. It’s pretty fully featured for my needs.

Thanks pal!

There’s copying pedals… every last one 😀😀

*As an aside those Fender TB heads are fantastic. I’ve got the TB600 and love it.

This guy has a few… http://www.nallepahlsson.com/pictures/equipment-gear-42888720

My mate nabbed the 5 string passive version and it really does need to be viewed as it’s own thing rather than Fender’s attempt at… If anything think of it as a beefy jazz rather than a Stingray wanna be. His passive 5 sounds great and has the sonic qualities of active but passive based on the sound of the ceramic pick ups paired to the passive tone controls. It makes for a nice mix of new and old. It’s sounds modern but can be tamed if that makes sense. I still hanker for a 4 string version just to have a proper blast but I have been considering asking him for a loan of his as I would like to give it a more in-depth play with some new material - just don’t really think I need a 5’er for it.

I just wouldn’t describe the 424 as a ‘flat’ sounding bass. It’s very extended in the low end and generally I’ve found it to be hotter than my other basses. The bridge pick up being quite strong too. Everyone seems to talk about it’s ‘punchy’ character. When payed against my jazz with allon the 424 again sounds to be much deeper in the lows too. Like I say I’ve not compared them side by side but I guess we all have different ears. The 424 does a great both on sound and I’d agree that it’s strength is in the pj mode with the tone knob doing a touch of taming as needed. The solo p doesn’t work as well for me as my p bass but it’s a different weapon and I can see both working in their respective context.

I thought folks were of the opinion they 424 had a bit of a rougher sound with the 1024 being more refined. I’m no expert but compared to a regular p and a solo neck J (my J has Nordstrand split 51’s which are basically classic 51 p pick ups in a jazz housing) the 424 has a greater low end and output and not tame at all

Feel free to adjust to taste.

Let me redo them.

That should be the screen shots with you now. Let me know how you get on with the patch. I think it’s a pretty decent clean tone. Plus try out different eq and compressors as you may find some of the other ones suit your better or maybe you’d prefer no comp at all. Have fun! Gavin

Of course I will and I’m the envy of my mates. I don’t get hangovers 🤭

Hey @petetexas I've sent you a PM.

I have a reverse P and there is a more positive impact on the skinny strings. It’s mayhaps that there’s more balance across the four strings. I do notice that my reverse P needs very little done to it to sound good. Comparing it to the higher output on the 424 the RP definitely ‘fits in’ better where as the 424 is quite strident in the low end. It’s easily fixed but I notice it when swapping between basses. I guess that’s one of the qualities of the 424 but I’d I were swapping between it and say my RP bass is likey have to make some adjustments at the amp. I’m not likely to have two basses at a gig so it’s not really an issue.