Doddy

This is one of the reasons why I don't use a board anymore. Some pedals don't work well with certain basses or don't react well with other pedals, so I don't want to be putting velcro on all my pedals and swapping and changing the board around for every show. I'd rather just take out what I need and what will work best.

I still put everything on the floor. I used to have a couple of boards that I took out regularly but as I like to use different pedals (and have lots to choose from) for different shows, I don't use them anymore. I just take out what I want/need and put them on the floor.

I think it's important for a bass to be have decent sustain. You might not need it a lot of the time but if you have to hold a couple of bars of tied semibreves at ballad tempo, you want to bass to ring out clearly. It's easier to cut a note with technique or foam or whatever, than it is to add sustain that isn't there.

Nice one. Cheers for the info. It could be the same one as was on Gumtree, because it was off a guy from around that way. I swapped my old standard Precision because the guy wanted a white bass. I think I came off best.

Yeah, I think most of them are active. From what I can gather, they were only made from 99 to 05ish. I'm normally pretty good with knowing Fenders, but I'd never seen a Deluxe Series, passive PJ in a matte finish before.

I generally start by keeping the EQ on my amp totally flat, and only use it to notch out certain frequencies depending on the room. With the EQ in my basses, again I start flat and only ever adjust them a little if I have to cut or boost certain range of the bass. With passive instruments I generally run the tone wide open. If I need any big changes in tone, I normally do it with a seperate EQ pedal, so that I can turn it on/off as necessary without fiddling with anything.

This is definitely a matte finish. The serial number dates it to 2002.

I recently got offered a trade on my old Mexican Standard Precision, for a Mexican Deluxe Series Precision Bass Special. I happily made the trade because the Special is a really nice bass, but I can't find much info about them. It's got a passive PJ pickup configuration, '60s style slotted bridge, and is finished in matte black with a red tortoiseshell scratchplate. The tuners and truss rod cavity look the same as my old Japanese Jazz Bass. Does anyone have any info on these basses, as I haven't seen a passive PJ with a matte finish before.

What chorus have you been using? I really like the sound of the old DOD Icebox, although I mostly use a TC Electronic Gravy. Both of those can get a pretty extreme if you want, without going too crazy. They are good sounding pedals. The Eden one is cool too, but a bit of a pain because it runs off 15 volts. None of those are particularly expensive, but they are good sounding pedals.

When I say busy, I don't mean one note semi quaver style grooves. I mean playing up and down the neck, fills, chord tones- going full on Jaco at times. Of course, it's all about knowing when to do it ( you're not going to do it on every tune) and having a rhythm section that allows you to do it, and actively encourages it at times. But, I think this is a different conversation for another time that isn't really helping the OP

I tend go the other way on this. I find that I can play busier in a 9 piece funk band than I can in a rock trio. But a big part of that is dependent on the guys you're playing with.

David Garibaldi posted on Facebook an hour ago that Francis 'Rocco' Prestia passed away last night. He was a super funky player, and his sixteenth note groove was a big factor in the Tower of Power sound. Sad news.

You could probably get away with playing any of the notes C7 chord, but it really depends on the context. What chords come before and after? Sometimes playing the 3rd or flat 7 can make the line flow more, especially if you are walking. You really just need to look at how the chords fit together. For example (I'm assuming that you're in the key of F), if the C7 is followed by an Am, playing a B flat might work well as you are decending to the next chord. But if the C7 is followed by an F, you'll probably be better off playing the roots in order accent the perfect cadence. I hope that makes sense. It's late, so it might not.

Try it both ways and see which you like best. If you put the EQ first, the octave will respond to the way you've got the EQ set. If you swap them around, you are changing the EQ of the octaved sound, so you'll get a different result. Personally, when I use an EQ pedal I put it first in the chain because I want my effects to respond to any tonal change I might use.

It's not that strange, we're just hearing things differently. I'll be honest, I'm not really a fan of digital octave pedals but to do the octave up thing, it's the only way to go. To me, no octave up pedal sounds natural but for what I want I prefer the Digitech, especially when I run it through a Muff style fuzz to get a fake guitar sound. You mention using the toneprint editor to play with the EQ- I think the toneprint idea is great, but I don't want the hassle of plugging a pedal into a computer and searching for sounds. I want to be able to turn a couple of knobs on the pedal and get the sounds I want, especially on stage. So for me, I can get the sound I want quicker and easier on the Ricochet.