cheddatom

yeh, if you can see it working but not hear it, it's doing a perfect job. It's to give you more headroom basically - to make life easier for your amp/cabs (I think). [quote name='mcgraham' post='1287311' date='Jun 30 2011, 08:57 AM']That's an altogether [i]different [/i]kind of device that Max would be offering. His surname is [i]not [/i]Moseley. ...and I imagine it would be a more efficient way of 'doing it'... it certainly would reduce the need to find a willing partner![/quote] I might change my username to "the humpinator!"

on my amp I have the lowest fader on the graphic EQ all the way down. It doesn't seem to effect the low end but gives me more headroom. I guess the humpinator would be a more efficient way of doing it.

Sibob - I just had a listen at home. That sounds ace! I sold my OC2 thinking the octave down on my whammy was good enough, which it is for what I was using it for, but now I really want that sound back - when you have the whammy with no dry signal it's just not as cool. Are you using compression on the boss? The big muff sounds like it's set very low gain, which is why you're getting plenty of low end IMO. It's a cool sound though! A bass muff or some other dirt pedal at the end of your chain (after the silver big muff) to add some fuzz would be delicious!

Sorry to be bombarding you with questions! I'll just check out my mate's silver big muff later this week. I'll post back here with what I find.

[quote name='Sibob' post='1284398' date='Jun 27 2011, 05:45 PM']Yes, to be fair I'm sure it does depend on what settings you're using, mine is constantly set to Level around 10 o'clock, Tone all the way up, Sustain all the way down!. I don't boost mids anywhere in my signal, only bass a bit on the ME-50, I also take off some tone and bridge pickup on the bass, but nothing drastic. Si[/quote] If sustain is all the way down, surely you're not getting any actual distortion? Or does it not go all the way to clean? Most people want a big muff for some fuzz, for which you'd have to have the sustain knob at at least 11 o'clock IMO

...but maybe the main chunk of your sound is mids? Do you have it on a fairly low gain sound? When I tried it (I have 6 strings and a very bassy peavey combo) it seemed to rip all the bollocks out of my sound. Maybe I should give my guitarists silver one another go as he never uses it

[quote name='Wooks79' post='1284270' date='Jun 27 2011, 04:17 PM']Can you not just set up the stereo outputs on the GT-10 to just always leave one output dry and unaffected?[/quote] That would be good. I can't find the manual online but it looks like it has a computer editor, so there must be some advanced settings you can get into.

It's a good idea to try the effects in the loop of your "wet amp". I reckon your cheapo jack spliter could be causing the issue. If you have a tuner pedal or the like you could run infront of the Boss, you could use that as a splitter instead.

I swapped a fuzz pedal for a pick-up with Voxpop. It couldn't have gone smoother!

what bass and amp do you use Si? Maybe you don't have that much low end in your sound as it is? Or maybe you use a lot of compression?

[quote name='EskimoBassist' post='1283387' date='Jun 26 2011, 09:21 PM']The USA silver muff loses far too much lowend and so has to be blended heavily to be usable, IMHO. The BBM is cheap, sounds good and is widely available.[/quote] I totally agree. The silver one is next to useless without at least a blender.

[quote name='0175westwood29' post='1281328' date='Jun 24 2011, 06:12 PM']Thats wicked! Really like the whammy with delay. Are you using a volume pedal for the swells at the end? Andy[/quote] cheers! No, I just played it like that. I'm going to re-do it with less distortion to try and get a nicer sound.

I've attached a file. It's the end of a song i'm working on. You can hear the bass go from distorted to clean, to whammy, then with delay, then it starts to get weird with the feedback. It's not the best example really but it's all I have access to that's actually recorded.

[quote name='TomKent' post='1276655' date='Jun 21 2011, 08:55 AM']I've been gigging a lot in town recently (more than usual). None of the engineers let me bring my own amp and demand I use their backline, but that's not going through the PA ever (apart from being DI'd on occasion). I'm about to make a point of telling the engineers to go 'something' themselves soon and just bring my own amp because big tasty Krampera > 40watt Laney.[/quote] That's the story at the venues i've played in London. They want you to use their sh*t gear which just can't deliver on the bass front. I always took my full rig and used it.

I'm aware that my company aren't compliant with all sorts of regulations. It's not that we don't want to sort them out, it's just that it takes a long time. I imagine GAK would include the outgoing shipping cost in your refund anyway, despite the vague wording.

you can get some big chunky rubber door stops though I think if you're going to put anything under the back, you'd have to put a strip of rubber under the front to stop it slipping. In fact, if you did that, you could use pretty much anything to go under the back. I always thought it'd be nice to have a wedge shaped board, with a wedge shaped lid which would fold underneath to create the riser.

yeh i'll stick some clips up soon

My guitarist has the same board, but never bought rack effects, so he just uses that section to cram in his wah, volume pedal, and cables. Shep - would rubber doorstops be no good?

to do something like this properly, surely it would take some sort of processor with a loop for your effects, so that it can read the input of your bass signal clean, and try to replicate that after the effects are applied - why you would ever want to do this I haven't a clue, as if you want the original sound of your bass, putting it through a load of pedals isn't a great idea.

It just seems a bit nuts to imply this can return the sound of your bass, after its gone through a load of processing. It might make the signal look more like [i]a pick-up[/i] but which one? And does it help?

I've played a good few gigs, and there are not many venues where the monitors could give me what I wanted on stage in terms of bass. This is all originals venues with tiny crowds, so I suppose it all depends on what type of venue you're playing. I'd have nothing against gigging with no rig, but only if I was 100% the monitors could give me what I need.

I've been recording through my board for my old band. I've never had tones this good, and will no doubt post some samples at some point. Anyway, I split the signal to record a totally dry track, and one track through my board. The board is then split in 2. I use the dry track to provide all the very bottom end and the board for everything else. I'm not that into "electronica" but was playing last night, using my left hand to play simple bass lines, and using tapping and effects with my right hand to try and do some melodies - it was ace! I'd love to have a go at Shep's sort of line-up. Anyway, yeh, parallel processing is a must for most good bass tones - not just electronic.

What's it actually do? Just adjust impedence?

those sort of "soundscapes" is mostly what i'm using mine for. If you put it in a feedback loop, some of the harmonies it makes are amazing. Mine's an XP-100 but I bet the WH4 is just as good