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Showing content with the highest reputation on 09/02/21 in Posts
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I've owned this bass for about four years and I've really enjoyed it. Of late - it's spending a lot of time in the rack as I've began favouring five strings... This is a great sounding bass and the build quality is immense. I replaced the P pickup with a BB2024 equivalent ordered from Yamaha. I have the original pickup which will be included in the sale. The BB2024 pup is hotter than the original, but the original one is fine and works great. The tuners are also replacement Schallers. It's in 8/10 condition. A few dings here and there but nothing significant. There is a small part of the decal that has flaked off. Weight is 3.95kg Made in Japan - 1984 Don't have the original case or any hardcase for that matter but I can ship in a Ritter gig bag + sturdy box and plenty of packaging. I'll take a number of better pictures when there's a bit of sunlight as the black sparkle finish is really great and these images don't really do the bass any justice.10 points -
My little Bi-amp rig. Stereo power amp into a couple of BF cabs. Signal comes into the line 6 then from there to the crossover. Two outs from there, each going to its own preamp. A guitar multi for the upper frequencies and Cali sound for the bottom. The joy being I can experiment with multiple different pre options. Everything gets tucked away into the rack, set up and pack down is fast and easy.9 points
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Due to the Covid-19 situation and severe back problems (66% officially disabled because of it) plus right shoulder injury (non-operable capsulitis from which, after more than 3 years, I will never fully recover), I'm selling all my basses over 4 kilos and also the ones I'm not really using. I've also considerably lowered the price for a quick sale. VANZANDT (VAN ZANDT) JBV-R1 Vintage Natural, Japanese craftsmanship at its best, a true Custom Shop. ONLY TRADE POSSIBLE : LEDUC FRETLESS OR FRETTED BASS (NO BELLE ISLE, NO SANOX, NO LOGABASS, NO LADY BASS, NO BD3) ! NON NEGOTIABLE PRICE ! Asking price including shipping fully insured with tracking number to your place in these European countries (ask for other countries) : Austria, Belgium, Bulgaria, Croatia, Czech Republic, Denmark, Estonia, Finland, France (excluding French overseas departments and territories), Germany, Hungary, Italy, Latvia, Lithuania, Luxemburg, Monaco, Netherlands, Poland, Portugal, Romania, Slovakia, Slovenia, Spain, Sweden and United Kingdom : £1299 GBP !!! New price is 308.000 JPY (with the 10% Japanese VAT) and they are not officially exported ! Shipping to United Kingdom is, of course, possible, but with an extra customs fee (VAT + other taxes + courier fee), because U.K. is now outside EEC. In fully working condition with light use and very few marks. Here are the specifications : Body : 2 pieces of ash (almost book matched) Neck : one piece maple bolt on with skunk stripe Fingerboard : one piece maple with white perloid block inlays and white binding Frets : 20 (radius 210 mm or 8.25 inches) Headstock : 4 in line à la Fender Pickups : 2 USA Van Zandt Jazz bass in 70's position Controls (CTS pots from 18th week of 2014) : volume, volume, tone (Van Zandt paper in oil capacitor) Tuners : Gotoh/Vanzandt Bridge : Gotoh/Vanzandt Strings spacing at bridge : 20 mm Nut : oil finished bone Strings spacing at nut : 9.5 mm Knobs : original black à la Fender Scale : 34 inches Hardware colour : chrome Truss rod : one fully working Finish : all nitrocellulose lacquer Land of craftsmanship : Japan Serial number : 7465 Year : 2015 Weight : 4.375 kilos Action : from 1.5 mm under the G string to 2 mm under the E string at 12th fret (can go lower, but was perfect for me) Will come with a brand new Fame Soft-Case Urban. Non-smoking environment as usual. The bass has been fully set up professionally. It has been fitted with a set of Ernie Ball 2833 Hybrid Slinky strings (45 - 65 - 85 -105). For those who don't know Vanzandt (Van Zandt) instruments, they are the equivalent of Fender Custom Shop Masterbuilt instruments, if not better. The Japanese higher quality control and craftsmanship make all the difference here. It's a no flaw construction. This bass is, to me, better than all the official Fender 70's Jazz Basses I have played. Compared to a Celinder J-Update in passive mode, the sound is a bit clearer, but very similar. Thanks to the (more fragile) nitrocellulose lacquer, the overall feel is similar to a vintage original Fender. And this tone control is simply magic ! Link to the Vanzandt models page : https://www.taurus-corpo.com/vanzandt-bass Link to the Fame Soft-Case Urban : https://www.dv247.com/en_GB/GBP/Fame-Soft-Case-Urban-Electric-Bass-/art-BAS0010065-000 A sound clip in slap here by my friend Romain, the previous owner : https://www.facebook.com/romain.bour.92/videos/10158717668167808/?sfnsn=scwspwa And here fingerstyle : https://www.facebook.com/romain.bour.92/videos/10158729049012808/?sfnsn=scwspwa What you see is what you get ! Look at the photos taken at different angles and under different lights to see the real condition of this bass which shows little use and only very few slight marks or dings. The biggest "blemishes" being at the headstock and near the control plate on the edge of the body where the (very fragile) nitrocellulose finish has gone. Here you can see the "blemishes" that I photographed alongside the 37 photos of this bass (the last photo showing Vanzandt full serial number in the neck pocket and the back of the heel's neck was taken by Régis aka @eneade ) : https://drive.google.com/drive/folders/1KRjjhRGOfqWGq_PprTTB6UF-5EAAEYxO?usp=sharing Don't hesitate to ask for more.7 points -
....And The Vox White Shadow.....she lives and breathes again! Saved by Basschat when it was so close to firewood. But she mwah's like a big kiss once again and with the spare Sandberg pickups and pre i had it really sings too. Super low action to boot, easy set up...very happy - it's a winner. @Andyjr1515 you are a gentleman and a genius! I thank thee 👍7 points
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Been playing drums for a few years and spent a lot on good cymbals which Covid has messed with big time so sold them and bought a sweet Classic Vibe Squire P bass for home noodling. How do they do it for the money...incredible workmanship and sounds, well, like a P bass. There's no doubt about it the balance of power is moving away from Fender, this thing is crazy good easily as good if not better than any Fender I've owned over the years and I've had a few. Surprised Fender allows it really.7 points
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This all makes for very sad reading.... I really hope you can all find the joy in just holding and playing your instrument again (fnar...fnar...). It's tragic to think that, for many of you, if you don't have a gig then you don't practice or play at all... As I said before, I've taken the lockdown opportunity to play for myself and to rediscover the innocent pleasure of owning, playing and learning my instrument for no other reason than it is just 'part of me'. Cheers to you all..... and here's hoping you too can rediscover than simple pleasure. x7 points
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I know Raph Mizraki as a very fine double bass player round the Oxford area. Last time I saw him he was playing a 1/2 sizer. Here he is playing BG, cello and synthesiser. If this doesn’t cheer you up nothing will. Enjoy!6 points
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I can sum up my view by saying 'I have found The One, but it isn't the one and only'.6 points
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https://www.loudersound.com/news/cliff-burton-day-metallica-20215 points
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Both of these were already stripped when I got them, so I had them professionally refinished in a slightly aged Nitro Lake Placid Blue. They are not relic'ed, but do show checking in the lacquer, and have since picked up a one or two minor scuffs and dings. I thought I'd list them together just in case someone wanted a matching pair! '68 Jazz - £3250 As stated, it's been refinished and the head-stock has been painted to match. The logo is obviously not original, but is sort of correct for '68. It does match the style of what was only partially left of the original. Pots are dated '66, Pickups March '68. The machine heads are original elephant ear type, probably the last year Jazzes were produced with them. It plays REALLY well and I cant believe I'm selling it, but needs must. Weight is 9.42 lbs. It had a full set up by John White just over a year ago. It comes in an original Fender case '79 Precision - £1250 Original Pickups, but I'm unsure of the pickguard, assume not. Pots are not original. Weight is 9lb 12 Oz and it too plays really well. I would add that although the serial No implies '79, the routing looks later to me, so could be '80 or '81. I will post at buyer's expense. I'll put a few more pictures up at the weekend (I can't find the neck heel for the Jazz on my phone - now found and added) I also have a couple of other basses, I'll put up separately. Thanks for looking Simon5 points -
A lovely early 80's Yamaha JB600R Jazz up for grabs. These are exceptional jazz basses and every bit as good as early JV Squiers IMO. This one has a beautifully dark rosewood board and a rather fetching Larry Graham style white finish. It weighs just 8.5lbs, is perfectly balanced, sounds great and comes with a nice gig bag. The flats currently on it aren't included (it'll come with rounds) but I seriously recommend the buyer throws some flats on it. Perfect bass tone 😍 I'd keep this one but I seem to have accidentally acquired a matching black one..5 points -
I shall take a look at both, thanks for the tip! The marquetery beam is now planed down ready for the truss rod slot to be built on it, so a few gratuitous beauty shots are in order of the flattened side before it gets covered up: the next step i loosely tape the carbon rods around the double action truss rod, so that it will fit snugly, and get the positioning right on the neck: The carbon rods will run the whole length of the neck, over the body transition and up into the headstock a short way. this way theres no weak points along the neck where stress could build. The rods are then epoxied in place, with a 6mm wide strip of cabon between them. they're slightly narrower than tyhe beam, as i changed the design slightly to use the new woods, but i will re- veneer both sides so that its all perfectly flush before building up the rest of the neck blank. these things are stiff... like really stiff. as you can see the rods have 8mm holes down the middle, and i bought additional 8mm rods to go inside if i felt it wasnt rigid enough, but i now think thats not going to be a problem very pleased The first 8 coild for the pickups are done now, so i started building one up! Each pair is wired together in series (the little red wire) and then wired onto the PCB. ive removed all the standoffs and screws to give myself some more space. Then the next pair... and before you know it: all 8 coils, nicely wired together. i tested the switch and the DCR values are all as expected Next i start glueing the bobbin mounts in place. these are what will determine the height of each vertical pair, controlled by turning the black hex screw. this is done with a very small amount of CA glue, so little that i can easily take them apart with a sharp scalpel if needed. the magnets sit perfectly flush with the top of the bobbin mounts, giving nice consistent heights across all the coils. and heres one all together! nice and neat, and it looks like itll fit perfectly into the cover. ill save that treat for my next upload though here you can see how it all works. the vertical pairs are mounted over a brass standoff, and pushed up by a spring and some foam mounted beneath the coils. as the screw is tightened, each assembly can move up and down independently. the 4 holes in the pickup cover leave these screws exposed, so you just bolt the pickup in place and move the coils within the pickups to set the volume5 points
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hi , i decided to massive reduce my collection , but this one is also for trade, but only with a f bass bn5 too , but no top or oder top the buckeye , i just dont like the buckeye look is a beauty but not my style . if this one sell is my idea to buy a new one . this bass make wanna sell my fodera. this bass is in great conditions only a few minor dents on the pickups covers and little sings of use everything works just fine specs 3 pieces maple neck , 34,5 scale 19 mm spacing macasar ebony fingerboard black hardware f bass electronics ash body gloss finish buckeye burl top4 points -
I'm not sure if this is the best place for this thread. Maybe it should be in 'repairs and technical' so mods, if it needs to be moved, please feel free. Righty ho. Thats the housekeeping out of the way. A few years ago, on a whim, I bought a 1979 Washburn Scavenger. I believe these were the entry level tier of the Washburn bass range at that time, with the more esoteric versions being the Vulture, and the Eagle. Both wonderful machines, but it must be said, very rarely seen in this country. The impetus to buy the bass came from an old mate of mine, who had an Eagle guitar. Quite frankly an unbelievablely good instrument, so I'd sort of had this in the back of my mind for years. Then this came up- on ebay iirc- and the die was cast. Here is a picture taken the day after I bought it. I thought that the zebra stripe pattern might be a nicely ironic post modern comment on contemporary musical mores, but it just made me look like an over the hill refugee from a Poison tribute band. However, it played nicely and sounded absolutely great. I think the pickup is a dimarzio, but if it isn't, it sounds just as good as one. It languished in a case for a couple of years then I developed a need for a bass I can leave in my office, and not worry too much who messes about with it, and I thought: "Aha, the Washburn". So I retrieved it from it's case and decided that it would definitely benefit from a new look. I thought I might strip it and do a rattlecan nitro spray job in black. So far so good. The stripping went well, even though there was about half an inch of paint on it. Once it was down to the wood I was quite amazed at what I found. A lovely mahogany body with an ash (I think) top. So I modified plan A, bought a bottle of tru oil and got to work. Using the slurry and buff method I went through many grades of wet & dry, ending up on 000 wire wool and the end result you see below. A lovely looking bass with top notch hardware- albeit unbranded - which plays and sounds great. It is as heavy as a small star though, which is the only drawback I can find... Oh yes, one really nice touch...The original hair metal paint job was slightly iffy in a couple of spots, just bleed through I think, given the complex pattern, but as such the neckplate is stamped 'reject'. If this is a Washburn reject, I'll take the lot.4 points
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@bassist_lewis most of the Tech21 stuff will do a good job of recreating that Motown sound effectively. Aside from that the Dave Hall stuff has an actual valve in it and is really effective. I played in a funk / soul band that toured for a decade so I've been down this path! Ultimately I've ended up with a Noble but the Tech21 BSDR and the Aguilar Tone Hammer do a brilliant job at a much lower price (and good size too). You'll pick either of those two up fairly easily and cheaply second hand. Here's a recording - P bass / flats and Tech 21 DI. Not a bad sound I'd say : )4 points
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Still my number one bass:4 points
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OHHHH FFS. Absolutely stunning. I’m exactly £998 short. This looks amazing4 points
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I had to go the custom route to get 'the one'. Now I've got 2 of the one4 points
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Black And Blue, from Ready An' Willing (1980). Black And Blue.pdf4 points
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I’ve just put a black 3 ply scratchplate on and I much prefer the look. The carbon fibre one was too busy for me. So where’s this good home?4 points
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And why not! Here he is going at it with the fuzz and wah:4 points
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More pictures. Heres one I took when I dropped into BassWorksHQ last week. And this is my neck on a similar in stock body. I've gone for an off white/cream pick guard. Saying that, the white looks pretty good!4 points
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Progress of my "covid safe restricted space rehearsal room" bass..ha3 points
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hi , like i said im looking to reduce my collection so here is a great one from pedulla this one is nearly mint from 2010 it come with a case ,owners manual and trusrod tool. condition is maybe 9.5 out of 10 only minor marks is just a beuty and a tone monster too really powerfull preamp defintly the only active bass that really like me until now. no looking for trades here but ...... specs 2 pieces quartersawn maple 34 scale beutyfull ebony fingerboard (master grade) softmaple body quilted maple top bartolini pickups and custom bartolini preamp 2 band made for pedulla basses3 points -
Your Beta is a fine choice for a good soul/Motown sound. I have a MkII that will be staying on my board for the foreseeable! The best pedals I’ve found for Motown are the TC Mojomojo and Aguilar Tonehammer. They nail that sound where the notes sound like twanging a rubber band, if that makes any sense. Tech21 stuff I love for more brighter aggressive tones, the VTDI and SH1 will do a decent Motown as well, so super versatile, but not as well as the aforementioned pedals in my opinion. Darkglass stuff is quite different sounding, none of that squishy tubey character, but keeps your original dynamics and adds a layer of ‘hair’, is the best way I can describe it! The Vintage series would be the one to go for, whereas the B*K pedals are mid scooped right in the place where a P bass with flats grunts the loudest.3 points
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I've got the Darkglass Harmonic Booster on my desk at the moment and will be recording a full video review for it for Guitar Interactive Magazine soon, but I can't speak for what issue the review will come out in. The magazine is free to read and every back issue is available for free on the GI Website where you'll find the other Darkglass pedals and amplifiers I have reviewed too. The reviews are often added to YouTube too.3 points
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Turn down the volume on the bass.3 points
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OK - I'm paying attention. This is getting real and exciting So, the Aria FEB is this one? I've just re-read the thread. Just a thought - and do feel free to ignore it I've got the wrong end of the stick. I've read your musings on getting the right kind of angle of the board to give you a floating overhang and I'm not convinced that there is enough wiggle room to get the board a steep enough angle with the sanding and building up approach (if I've understood those musings properly). The amount of thinning down and building up tends to be impractically high for any major change in angle. On the other hand, a small change of the angle at the heel can make a huge difference (think of how thin a shim needs to be on a bolt-on neck to correct the action if the bridge is over its adjustment range). Once you've got the board off, you should be able to see the neck joint... Because all that got me thinking. And I remembered that years and years ago - I bought a cello neck And to my surprise, I've just found it (MrsAndyjr1515 is, as you can imagine, delighted) : ...and realised just how small that heel angle has to be (5.5 degrees)... ...to produce this effect at the overhang: ...and you might have access to that neck joint soon.....3 points
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The pedal is tiny - it fits in your hand3 points
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Yes particularly the valve ones 😁3 points
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Well, that took longer than expected 😂 I had to get some penetrating oil to get a saddle screw and a knob locking screw moving. Never underestimate the power of old biocrud to get into every nook and sieze up things you would not believe. The pots also needed some cleaning but they're all smooth and scratch free now. Not an inconsiderable amount of work, but it's done now. General impressions, this is a really nice bass, a clever tweak of a great design. It's very comfortable with some nice features. The backplate has inserts for machine screws, a simple but tasteful touch which I wasn't expecting from the big F. The bridge is a decent unit which allows for quick string release. The Kubicki preamp is quirky, it must be said, but also quite practical and useful once you understand what it's doing. Knobs are vol + pickup blend, treble + bass and a four way rotary switch. In the cavity is a small mid boost control which, after some testing, I've set at about 80%. The four way switch is the key to the whole thing. 1st position is passive, where the volume and blend work as expected, but the bass control becomes a standard passive tone roll-off. Classic Jazz bass. Position two is active, so you get volume, blend, bass and treble. There are no detents in the bass and treble controls and, while they're labelled as cut and boost, it feels like there is a lot more boost than cut in both. They're quite musical, though and pleasingly subtle. Position three is active again but with the mid boost engaged. It undoes a lot of the natural J scoop and gives it a healthy growl. Nice. Fourth position is a kill switch which turns it off. No output at all. I'm sure, some day, I will find a use for that. I might try it with a wall of distortion and use it rhythmically. It all works well with the silver Lace Sensors. They're clean, with healthy but not outrageous output. I like the smaller headstock, it suits the smaller body well. And the tuners look like branded Schallers, I think? Overall, I like it a lot. I grew up with a J bass so it's homely, but it's a more comfortable shape. It sounds like a standard Jazz bass when you want it to, but also has Jazz-on-steroids on tap and neither gets in the way of the other. I put all the parts back together on Sunday evening with a quick setup and, now everything has settled down, will do a thorough setup later on. It's good but I think it has potential greatness when properly set up. Plus (no pun intended) I'm not scared to catch something nasty off it anymore 😂3 points
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Smaller body = risk of neck dive3 points
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I don't understand the hate for this. It's a brilliant cover, full of passion.3 points
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OOF. You and your tempting basses. I thought you’d quit 😂3 points
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Before I discovered Basschat I only had one bass. This question would have been irrelevant. Not any more3 points
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Time flies. That one came out 18 years ago 😂3 points
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I can say 100% yes, as before lockdown I had never held a bass or any guitar since music class at school 35 years ago😃 A very different situation for me, as someone who has spent the last 25 years as an engineer/manager working mostly in a busy office to suddenly be working from home with almost no social interaction lockdown was tough. Projects we had were put on hold so we had a reduced workload in the team so I actually had time to do something new, and having something to learn has really helped me get through the Lockdowns. I blame Mark Gooday at Ashdown who I've known for a number of years, through nothing to do with music, as when they started their B-Stock sale I picked up a B-Social as a bluetooth player really, but then thought I could buy a cheap bass (Hofner Ignition cause that's what Paul McCartney has) to mess around and learn, had a few chats with Mark, signed up to Fender Play, and have really enjoyed it, I will never do anything other than play at home, and I'm not very good but things got out of hand. I now have the B-Social and Hofner, I've added a 210 & 115 cab, a Ashdown CTM-30 (also an cheap Ashdown Mag400 from ebay that is too loud for home😄), and a Harley Benton SBK and Bass Centre Betsy.3 points
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Astonishingly, it seems this is not a one off. They have a body of work. There are also commentators on YouTube earnestly deconstructing what they do and asserting that it's art and difficult to play, which it is, because random sh1te/chaos is by its nature impossible to replicate accurately. I was once hired to perform at a concert of music by George Crumb (look his stuff up if you fancy a laugh). The "music" consisted of a lot of random noises (all scored for full orchestra, mind, plus additional instruments - mandolin, musical saw and so on) with a soprano warbling some ancient Mayan text (or something similar) tunelessly over the top of it all. She was required to shout into the grand piano and do all sorts of undignified things. I had to play the mandolin with a bottleneck. The part was insanely complicated and utter garbage. This all happened in a London West End venue - tickets were not cheap and the place was full. At the end, there was rapturous applause. It was hard for many of the musicians to keep a straight face. Having a drink in the bar after the ordeal, we were surrounded by tone deaf poseurs with naice accents pontificating about how "original, brave", etc, etc the 'music' was. It seems many people who are not musical are terrified that they might be missing something, so they feign appreciation of such nonsense in case someone laughs at them for being stupid.3 points
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hi i got this one here on the forum is a nice bass and price to sell comes with a padded gig bag not original is in a great shape this model is from 2008 matching headstock only minoe dents nothig wild , this one is a great working bass and looks amazing was a fully set up by luthier now and come with new strings. specs alder body cream vintage white mape neck one piece 35 scale , indian rosewood 3 band preamp from xotic and i think the pickups are fralin nice wood covers hipshot hardware2 points -
This is a very reluctant feeler. Bought new by me in Aberdeen from R & B Music way back in 1988. Used up until about 1991 on a regular gigging basis, then hardly at all for one reason and another. Used spasmodically up until 1999 ( one gig every blue moon ) hardly used after as I was working overseas and finally retired it when I went 35” 5iver Fretless in 2005. Unused the last 15 years as I went through the card on other basses. It’s a special bass, apart from its heritage and condition (as new, yes as new) it was going to be a legacy for my Grandson Niall. However, I realised, he’s football mad, unlikely to want to play bass in the foreseeable future. Now we have this Covid crap, his Mum my daughter has been on furlough for a while. I’m thinkin’ they could use the money never mind the bass..... So that’s the reason for this potential sale. I’m just playin’ fivers, regressed to 34” scale recentl, realistically, I’m not going to be playing this wonderful piece of workmanship again. Buy it. When they was twins, the Fretless was an ‘89 sold a couple of years ago. More snaps to follow, you get the picture (ha) This is the bass for Sale, Fretted, ‘88 Thumb 4 String So there’s the tale, no trades, no part trades, just sale. Thanks for looking, more snaps to follow. THE MORE SNAPS2 points -
This bass is now back home in Birmingham where it's undergoing a refinish. That's after getting it into the waiting list for the work. I always like giving work to busy people.2 points
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I've been after an unlined fretless since selling my Ibanez Portamento a couple of years ago. Every once in a while I'll look on here and a few shops to see whats around, but nothing really grabbed me, until last week. I just happened to look on The Bass Gallery and saw The One!! A Fender body with a Status neck, EMGs and a Hipshot KickAss bridge. It needs a couple of tweaks and such but it's bloody lovely! I may refinish the body black to have an evil looking stealth machine...2 points
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Clearly the only answer is to buy all the pedals and try them. Then buy a bigger pedal board because they are all too good to send back. Tell the significant other that there has been a committee decision and you can't do anything about it. Rulz is Rulz.2 points
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The current Squier Paranormal is rather similar, albeit a J shape body.2 points
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It’s going to be a great live amp! I had to swap amps round as the sound from this was just “too big” for the small, cold room it was in. That’s the only way I can describe how it sounded. My MM was fine but couldn’t get my sei jazz to work right, distinctive jazz sound with j-retro and Aguilar 70’s p/ups, so a definite mid scoop type of tone, New sire fretless was fine as well moved it into my lounge, nice carpet etc, and it sounds great my genzler is in my nearly finished studio room and is a much better match for that space maybe it’s the difference between the overall sound you get from a more traditional amp versus a class D amp, I don’t know, but all good Tony2 points
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I use my B3K for trad sounds. I set the drive low and it just adds some harmonic content and thickness. Sounds brilliant for Stevie Wonder stuff. Just enough grit to cut through when playing hard, and a lovely rounded tone when played gently. I actually prefer the B3K for that than the Vintage models.2 points
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It’s so true. I’ve always written off P basses as ‘old man basses’ Now I’m of an certain age and the strap has crept higher and the tone control lower and I quite fancy a p bass 🤣2 points
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I enjoyed mine a lot! I even recorded with it through the excellent balanced line out. The only thing it lacked, to my ears, was a tweeter. It could get really woolly and lacks brightness. That's what I do now: I have a little Yamaha mixing console with built-in USB recording interface with two KRK V4II's hooked up. When practicing, I usually plug my bass straight in because I'm lazy and I like the tones I'm getting. EQ is limited, but I don't EQ a lot anyway. I have played with a Bass POD xt in front, and with several preamp/DI pedals (Hartke VXL Bass Attack, EBS MicroBass II, Darkglass B7K) and all have worked equally well. My PC is also hooked up to the mixer for music playback and to play along to, but any other audio source would work too.2 points
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Everyone knows it's Jazz bass for learners, P bass for Pro's. 😆2 points
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I've sort of done this but I tried using a Darkglass Vintage Ultra and I couldn't really get it to work. I play in a rock band but at home I enjoy playing along to the likes of Al Green and Motown. Ultimately, I found the Darkglass a bit clinical but with a fizzy top end (if that makes sense.) I ended up going for a Tech 21 vtdi and feel this covers all my needs right now. I use a P with flats and this really adds some beef. A lot of the time I practice at home with headphones and having this before the interface is a godsend.2 points
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