dannybuoy

I've compared them side by side and the COG T16 sounds nothing like the Octabvre or OC-2. The Octabvre has way more midrange punch and is the better choice for soloed octave IMHO.

Depends what you want out of it - if you want to solo the octave sound and play higher up on the neck to get that keyboard synth sound, the Octabvre Mini is amazing. Just like the Boss OC-2 but more versatile and no volume drop. For some reason though I don't like the sound of it as much in the role of adding smooth background sub bass to higher register playing. I had a COG T16 that sounded really good in this situation apart from the fact it didn't have enough output volume. I would like to try an Octamizer next, they are meant to get very subby like a Meatbox with the filter turned down! Then you have digital octavers to look into, which I class as a different effect altogether. Never heard one that sounded good to me though.

I'm not against programmability; if I had needs complex enough to require presets then I would probably end up using some kind of multi or a MIDI switcher + separates. But at the level I use, i.e. just one or two pedals on at a time, nothing too complex that would require tap dancing to operate, then I don't want to compromise on tone or the ability to live tweak just to get presets. You say people would not notice the difference between an dedicated octave down and a multi... well I certainly would, and it would be enough to put me off when playing. I have not found a single decent octave down in anything that Zoom, Line6, or the various apps on iOS have to offer for example, and if you want the synthy sound of a Boss OC-2 style analog octave with no processing delay, analog is your only option. I doubt even the big boys like AxeFX and Eventide would be able to compete there. Similarly, when it comes to dirt, I am very very picky. I've tried to replicate the tones of my analog overdrives and fuzzes in plugins / apps / multis, and have not been able to get anywhere near satisfactory. Ultimately it comes down to your needs and a balance between how many sounds and presets you need vs how fussy you are about your tone.

Joyo Orange Juice is getting a lot of love amongst bass players, very tubey sounding with a decent amount of low end, under £50 new delivered! http://www.youtube.com/watch?v=Uq9CDL4Jdyo

Of course if you have requirements like BigRedX, then a multi is the way to go. The other 99% who just need a few usable tones and no presets or MIDI malarkey would be best off with separates!

I spent £800 odd on a Fender P5 a few years ago until I saw the light and upgraded to a £200 Yamaha BB415! Much more playable neck and better sounding low B too!

You would need to be competing with these guys then! https://templeboards.co.uk

Shepherd's Bush Empire is a terrible venue, the last one at Hollywood Bowl was great though!

[quote name='funky8884' timestamp='1488971367' post='3253326'] Is it possible to buy a mid range bass and have a solid B string ? [/quote] Most definitely yes. I'm waiting for a certain someone with an expensive taste in basses to come along and say otherwise! I have a 34" scale Warwick Rockbass Streamer V that has the best low B I've ever experienced. Stiff multi-laminate neck and solid construction, it's very defined and piano like. They are worth a fair bit more but I got it from an Italian store for under £280 delivered! My Yamaha BB has a decent low B too, miles better than the Fenders I've tried, but it doesn't sound as clear and defined as the Warwick.

I far prefer the flatter boards of my Sandberg, Yamaha and Warwick basses. My Fender P has a 9.5" radius and is also very comfy to play; but I can't get on with the 7.25" radius of the vintage styled models. It feels like I have to move my hand more to press down that E and G strings, and can't even see the G if I look down. Also, I have a Squier CV Jazz that on paper has a 9.5" radius but it looks way more curvier than my US Standard P and wouldn't be surprised if it was a typo and actually 7.25"! I don't get on with this neck and intend to move it on.

I thought it was all of them?

I didn't know they made 5 string versions! Nice score.

Essentially, yes they are. The eq section of both the B7K and Vintage Ultra appear to be identical so you could pair 1 Ultra and 1 standard pedal of your choice to do as you describe. However there is a limitation with the Ultra design; you can't have different EQ settings with the drive on and off, so you might not be able to switch between clean and dirty without some kind of compromise on EQ settings. For example, you might want the bass and treble boosted on your clean tone through the B7K Ultra. But then you find yourself using the grunt and attack switches to get your drive sounding how you want it, both of which boost bass and treble also, so with the dirt on you might not want the same EQ. Also, the original Vintage is rather dark sounding; I found myself trading it in for the Deluxe so I could boost the treble control (which actually affects more of the high mids on that one). The newest Vintage Deluxe also adds in the attack/grunt switches from the BXK lineup.

If you don't like the colour turned to the right you might not like the B3K then. I prefer the left side too, very midrangey and jumps out of the mix.

Separate pedals all the way for me. I love being able to swap things in and out so that I end up with the best of each effect that suits my needs. Multis are always a compromise, especially when it comes to dirt. Aside from the tonal aspects, I find them a pain to tweak and program, and far prefer the hands on usability that separates offer. I'm no technophobe either, I work in IT and am a tech geek.

Overdrive is the only essential for me, I have several favourites that all sound different and match up better with certain basses. But envelope filters are the most fun, especially the Mini Q-Tron or Fwonkbeta. Serious bass face.

[quote name='NancyJohnson' timestamp='1487575868' post='3240774'] Yikes. Why so expensive? [/quote] On the plus side, a set will last you years. My TIs have been on for 7, and 20+ is not unheard of!

I would wait for the new Alpha Omega, or at least for some comparison videos to make an appearance!

I know! And the fact it comes in black means I might have to put my Classic Pro up for sale...

[quote name='Dosi Y'Anarchy' timestamp='1487442525' post='3239876'] Sorry to derail, but regarding Prymaxe: would i have to ask them to "fix it" so i don't get charged import? Thinking about getting some stuff, funnily enough a Bearfoot Blue Berry after this thread, am i best picking a specific shipping option? [/quote] No need to ask, I just always go for the cheapest shipping option and stuff turns up within a week usually. Don't forget, if there is no discount code going, or the code doesn't work for what's in your basket, use the live chat and they'll sort you out!

Also there are some Chinese knock offs that are supposed to sound pretty close: http://www.eyguitarmusic.com/Thunderbird-Bass-Pickup-Vintage-Style-for-GibsonChromeNickel_p_2287.html I have a set waiting to go into a bass when I get the time.

[quote name='Dazed' timestamp='1487344608' post='3239177'] I'd love to try something with decent thunderbuckers. I've become quite smitten with the idea of a p bird. Like that lull but don't like the head stocks. [/quote] Epiphone are about to replace the Classic Pro with the Vintage Pro, with vintage style chrome pickups... Hopefully they will be close to the Thunderbuckers!

It will work but it will make the tone a bit thinner and brighter compared to having the pots attached. I rewired the S1 switch on my Precision as a volume/tone bypass and didn't care much for the sound when it was pushed in, so reverted it to stock.

You post a thread titled "Anyone here not a fan of flats?" then get annoyed when people come in to confirm that they are not a fan of flats?! BTW, tapewounds are roundwounds under the wrap, perhaps that's why you like them!

I still found them too stiff, but I'm a TI guy.