dannybuoy

Manufactured in the UK too apparently, so hopefully reasonably priced over here. I wonder if they have collaborated with Barefaced or someone else we are familiar with...

Sorry, not tried either, but there is the TC BH250 and Markbass Nanomark also!

There's a few in that list I didn't actually like but I just recommended them because they can sound very similar to the Phat Phuk (which I have bought and sold twice now!). I've heard a lot of love for the MojoMojo actually, I should try one out. Quite a different feel to the PP but it does sound like a great low gain OD.

These can all achieve a similar grit to the Phat Phuk: Fairfield Barbershop or Accountant (the Accountant is a dirty compressor but I use it like a dirty boost) TC Spark (full size version, the mini one is clean with no gain control) RMI Sonic Spark Tonefactor Cream Pie (can sometimes be found lurking in the classifieds) Creation Audio Grizzly Smallsound/Bigsound Mini (I think there's a used one around these parts still for sale) Southampton Fifth Gear Cheapest and most readily available option is the TC, it can hang with the rest tonally, a bit of a bargain really!

I think it would do a great job on upright, sounds amazing with the fretless Godin.

[quote name='alexclaber' timestamp='1506342900' post='3378035'] Danny, I'm sure you'll love the Two10 (it isn't called the Retro anymore! ) If you're used to the 210AV cabs then I'm almost surprised you didn't find the Two10 had too much bottom end - we had one on loan for a while and I've never played through a bass cab with so little happening below 100Hz - in many ways it felt like playing through a guitar amp. I was so shocked I even measured it to make sure I wasn't mishearing! The Gallery is a great shop but your experience of testing the Super Twin confirms why I'm not a fan of testing amps and cabs in shops - it's just such a weird acoustic environment for all but the smallest rigs. I don't think we've ever heard feedback like that from bassists gigging the Super Twin - and as we sell almost everything direct we hear back from the majority of our Barefaced users, good and bad (the former vastly outweighs the latter but the latter is more informative so we like that!) [/quote] Yeah, the 210AVs are light on the lows which is one of the reasons for seeking an upgrade! Plenty enough thump in what I perceive as the 80Hz-100Hz region when you EQ to compensate though, and I've always felt that lower than that just creaes too much boom and rumble. The Two10 sounded perfectly balanced to me in terms of lows and highs - but of course I realise that doesn't necessarily mean flat, and I was not testing at gig volume, nor at a distance from the cab, which are all factors. Looking forward to giving it a good outing at a rehearsal in a couple of weeks and my first gig with the band at the end of October!

Well if the Mod Duo takes off you will have almost unlimited new FX models and patches being created by the community. Also you can have a very complex signal chain going including amp sim, parallel chains and such. With the H9 you are stuck with what Eventide give you, although they may release more content in future. Many of the FX could be higher quality, being designed by pros rather than hobbyists, but then again you can only run one effect at a time I think? Think of it like a Linux desktop PC vs an iPad. Varying quality, complex and flexible Vs. high quality, simple but restricted.

About mids... I've been practicing using the DI out from my Darkglass head mixed with my new band's old album tracks into headphones. It has two distortion types, the mid-heavy VMT and the scooped B3K. After constantly hearing on forums that you need to boost mids to be heard well in a band mix, I went for the VMT mode first. However I found that I was then battling for the same frequencies as the guitar. B3K mode, which has a natural bass boost, mid-mid cut and hi-mid boost, just slotted into the mix perfectly. Now I understand why bassists and recording engineers love the Sansamp BDDI and Darkglass B7K so much. Another thing - some amps, like the Orange Terror Bass, are flat with the mids maxed and bass and treble off. It's worth finding out what type of tonestack your amp has and if anyone has posted any measurement graphs online.

I just gave my Effectrode a try with a few basses and stand by my original comments. It does colour the sound and add quite a bit of low end, it's hard to explain but it does it in a different way to an EQ, like it accentuates the thump of the note attack. However it sounded so good with my Godin A4 fretless that it's most definitely not up for grabs! I've yet to experience some of the high end tube DIs like the REDDI or Noble but I reckon this little box delivers some tonal magic in a similar way they do! It's definitely an overlooked pedal, I had never even heard of it when I was offered it in a trade, even though it's one of Ovnilab's top picks.

Also, the SUB Ray4 not only has a Jazz-width neck but the one I had was very light also being made from basswood.

There's a used Sandberg Basic up for sale on here, very similar to my own. Not quite as aggressive as a Ray but very much in the same ballpark, with a much skinnier neck and smaller, more comfortable body. Be aware that many two-pickup basses with a MM at the bridge have that pickup a lot further back than the typical MM sweet spot, so you may not get the typical Ray sound you're after.

It'll be a couple of weeks until I get to test it out at rehearsal/gigging volume...

Of course trying a cab out in a shop is hardly the best test, especially when both mentioned cabs were at either end of said shop! It could well have been room resonance making the SC too boomy.

Take my opinion on cabs with a pinch of salt! Last time I was a gigging bassist I lived in London, playing on multiple band nights or rehearsal studios through whatever random backline was provided, rarely using my own gear. Also I haven't ever played through what you might consider a boutique cab before. What I do know is that my current sealed Ampeg cabs do the business for me, but I was after a bit more thump, clarity and power handling, which the Retro nails. I went in expecting to buy a Super Twin, but the sound of it was not for me.

I've been looking at these BF cabs lately as well, so tried a few out at the Gallery today and walked out having put down a deposit on a 4 ohm Retro 210. They had it in stock but I didn't fancy lugging it home on a train with all my other shopping bags, so having it sent on! The Super Twin felt like it had too much unrestrained low end boom that would just overpower the stage sound. The mids and treble on the other hand were the opposite and felt very restrained like they wanted to stay in the box. By comparison, the Retro sounded perfect straight away. Just the right amount of bass, way brighter with growly upper mids, the notes just leapt out at me. I have a pair of Ampeg SVT210AV cabs at the moment, so the Retro was much closer to the sound I'm used to. I'm hoping the one cab can cover most of my needs volume wise. My main amp can go to 2 ohms if I need another cab, and my backup amp is a bit underpowered so could do with 4 ohms to squeeze the most out of it!

I bought an 80s MIJ Jazz Special PJ from Wunjos today after testing it out last week. Sounded better than any other PJ in Fenders current line up, including the Elites! On my way home I popped into the Gallery in Camden and they have a slightly different model with angled pickups as well as a P Lyte and a bright red Tokai Hard Puncher copy of the Jazz Special! Great prices on all of them too.

And buy soon, I meant I was almost there! Tried a few today. The 2024X was lovely, just like my 1025X with a better finished neck, and one less string of course. Still heavy though. The newer BBs sound very different, less scooped, tighter lows and brighter overall. They seemed only slightly lighter than the older BB line. I didn't go for one though, I picked up the 80s MIJ Jazz Bass Special from Wunjos instead, which kicked the butt of every single Fender PJ in the store and is very light to boot!

Yamaha store in London supposedly have a 735A in stock and plenty of other BBs including some 434s and 2024s. Hoping to try some out in there soon...

I tried a few comps last year to pair with a P-Bass and flats (going through an Aguilar Tonehammer to get a bit of flomp on!) and picked up an Effectrode PC-2A tube compressor. It has a real weight to the low end, or heft, as it's called around these parts, and it sounded absolutely perfect with that bass in that setting. It wiped the floor with the Diamond and Keeley in the little shootout I had anyway. Fast forward a year and I'm now using a hotter output bass with an aggressive playing style and have moved to an RMI Basswitch Dual Band comp, which has a much more tight 'active' sound to it, like you describe. This works great for my needs right now, but for more mellow/soulful noodling with the P, the Effectrode is a much better fit. I want to A/B them both with a few more of my basses first, but I'm considering selling it, so shoot me a PM if you're interested in giving it a whirl. Review here: http://www.ovnilab.com/reviews/effectrode.shtml

This isn't the first one I've seen - I think these were a limited run that the Lyte was later based on? It's just like this one: [url="https://www.talkbass.com/threads/fender-jazz-bass-special-circa-1984-87.716045/page-15#post-15343195"]https://www.talkbass...5#post-15343195[/url] And this: http://www.ebay.com/itm/Used-FENDER-JAPAN-Jazz-base-SPECIAL-PJR-65BLK-Electric-Bass-w-soft-case-EMS-/152683140817?hash=item238c9fd6d1:g:E5wAAOSwrblZnIBx

Boost pedal would be my choice too, saves modding the bass and would make it easier to equalise the volume compared to your other basses. The TC Spark Mini looks like a good contender. Look inside the cavity though to see if there is a trimpot, some active circuits have a gain control you can adjust with a screwdriver.

Just discovered the Gallery in Camden have a few BF cabs in stock too. Might have to check some out at some point, I've been curious to find out if the Retro/Compact would have enough top end clarity for my liking...

Depends on the filter and the drive... A filter going into a mild overdrive / amp-sim, or a blended overdrive sounds great, as the peak accentuates the distortion. Like a classic wah into a distorted guitar amp. But if the filter is too extreme sounding it can overwhelm the drive pedal and sound bloated mess, sometime a blend helps there. Filter after drive is generally always good, but after heavy distortion / fuzz it can sound like more like a synth sound that might sound a little bit too electronica if you were going for a rockier sound.

Any idea if cab sims are included on the amp models for reducing top end fizz from the DI output?

I didn't know they were playing London tomorrow, assume it's sold out?