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Hello guys, this is my pedalboard and I'm fairly happy with sound possibilities that I have. IMG_3325.heic I am a session musician and 90% of the gigs, I use In Ear monitoring without an amp. The thing is that I have to play a LOT of genres and for some kinds of music something is missing... the "amp sound". Doing some research I found the Origin Effects Bass Rig Super Vintage (the Ampeg clone) and the thing might be the right tool for what I need. So, the question is: what if I let the Mesa (it's a always on type of pedal) for the main EQ and after that I use the Origin for amp and speaker simulation? Is it redundant? Just to explain the other EQ pedal in my board, I use it only for matching the volume of my basses and more or less like an onboard pre (when I need some equing like more low end or scooped sound). Thanks for the help and sorry for the English, obviously, it's not my main language.

Ha. I've got no way of doing that mate- I just have a laptop and a phone. No fancy stuff.

I first experienced a silent stage back in 2018, out in Denmark. It was a festival, and as the bands rotated, this bunch of young guys (can't mind their name) and the techs wheeled in. No speakers, just Kemper profilers, and the drummer played an electric kit. From stage right, the experience was bizarre: all you could hear was the FOH, and I felt weird. The only stage noise was the drummer hitting his pads. I can't imagine playing in that environment, no air being moved.

When I was promoting, bands used to do 2x45 + encores (if any). Big names (think Ben E King, Jimmy Ruffin, Desmond Dekker) used to do a contracted 60min, up to them if they went on past this - I think Jimmy Ruffin finished at about 2hrs!). 😎

This Beds Not Big Enough - Charley Pride

Nice!

I have a Catalinbread SFT already and it's nearly exactly what I want. It's so close that I'd describe it as a meal that has 1 ingredient in slightly the wrong quantity, particularly at very low gain levels. I'm hoping the Jive will sort that. I also have the T21 Paradriver which I can dial in closer, but the layout is very annoying for my tiny gigging pedalboard so it stays on my larger home & silly noises board instead. Hopefully my Jive will arrive next week sometime.

Standard clubland this side of the border tends to be first set 45m followed by second 45m +15m. You'd be shot if you eat into bingo time lol

That was the original selling point, to vary the set but now they just include them and you are back where you started with "we need to learn some new songs as a back up" Annoys me a lot. Dave

Thanks Phil, I agree, she's fab and we're very lucky to have someone of her vocal (and keys playing!) ability being a founder member and fronting our band. Yes, indeed, a new mixer is definitely going to be the next major piece of kit. Btw - I did offer the backline option to the guitarist/band. The response from them was a nuanced and balanced one i.e. maybe to consider doing at some but not all venues we're playing at. It's something we'll be discussing further and keeping in view.

Well its £25 so not the end of the world if true. Also the caps in the pics of the unit are 63v so it would be a pretty elaborate scam.

I tried an Audere JZ3T in my Jazz Bass once (it was the 4-knob version with active 3-band, passive tone and 3-way impedance switch, but they sell them in 3-knob config too) and it was nice, but I got lost in all the tonal options. The impedance switch is cool but to me it didn't really offer anything usefull beside the middle (neutral) position. The low-Z setting gave a very deep, dubby low end and less high end. The high-Z setting was thin and almost a bit out-of-phase in character and was completely useless for me and my bands. In my Ellio Martina I have an Aguilar OBP-3 in a 3-knob configuration (volume/pan stacked with active/passive push-pull, mid/treble stacked with mid frequency select push-pull, and bass) but I don't like the center frequencies they chose for the EQ. The bass frequency is too low to my taste, the treble control is too high, and the mid control somehow only has a noticable effect when it's almost entirely up. May be a problem with the MEC pots it's coupled to in my bass, I don't know. Probably not the recommendations you were hoping for Other preamps I have experience with were stock electronics of various brands (Carvin, Ibanez, Cort, Status) so not much help there. I have yet to try the Darkglass, but the idea of two mid controls and no upper treble sounds very appealing to me, and very functional.

I've got a 105 on and it rattles/flaps. I have a 43 65 80 110 set being delivered soon. If the 110 is problematic, then I'll try a 120 for the E string.

That's really interesting. I know your singer from the clips you've sent me and if she ever moves down to the West country I'd steal her She is good! So she's using the in-ears as just a back up for when the on stage sound is difficult and/or for a bit 'more me'. Both mine do the same and I can't wean them off it. though Lucy has got a good sound when using my in-ears and did like that. In fact she's asked to go back to 'can we use your mixer' where she last used in-ears so i think the problem is at least partly that she's lost the control of her mix. We are currently using the guitarist's XR18 for mixing. It's his new toy and I didn't have the heart to say no lets use mine. Got to keep the troops happy Guitarist is the only one not using in-ears and on the mix he likes to make it complicated. I'm a KISS person. Also we all have iPhones and the personal monitoring apps are non-exitent or glitchy with the X18's I sympathise with the guitarists generally. The modellers are good and getting better but not quite identical with the amps they emulate. However for the audience different is often better. It's a bit much though to ask a weekend warrior who has spent thousands on getting 'their' sound to give up using their pride and joy. In my other band the guitarist mic's his cab. For you though I think your next step might be a new mixer