ratman

I can only add to what Lozz has said. I have a B3. I have mainly used it for all my modulation effects - chorus, flange, octave, filter etc - and found it to be great. Although I have used the distortions too, I have some nice real pedals for that which I prefer to keep using. I did, however, knock up some patches recently for some Muse covers and I got the distortion sounds I was looking for using the Big Muff model, which has a handy wet/dry blend on it (a lot of the effects have this useful feature), and it rocked. Historically, digital units aren't known to be great doing distortions but the B3 is definitely no slouch. I guess with new processors and better modelling, the new breed of digital multi effects are way better than they were even 5 years ago. Once you try a couple out you may be pleasantly surprised. My B3 won't be coming off my board for a long time yet. It saves me lots of space and it sounds fab too. (And on the strength of that I just bought an MS60B too for small gigs where my board is too big. That's great too, where I dont need to be changing patches as much.) You should try to demo or borrow some of these multi effects if you can. They've come on a long way.

[quote name='lefrash' timestamp='1383316262' post='2263081'] I could use it for a stomp too. ie have comp, amp sim eq and noise reduction always on, next slot as line selector and last slot as chorus [/quote] Just remember you have only got a maximum of 4 slots to fill. I wouldn't worry too much about noise reduction, unless to have your gains or ttebles really cranked up to silly levels. So you could use Comp, Amp, LineSel & Chorus, for example.

I've had mine for a couple of weeks now. I got it for pub gigs where the big board is just too much. I love it. I copied a lot of my effect settings from my B3 and apart from having to adjust the wet/dry on a couple of filters, they are identical sounds. The stand out effect for me is the LineSel. It's the LS2 model, and it adds a lot of functionality to this pedal. With this you can have say a comp 1st in your chain, then the LineSel 2nd, then another effect or two in 3rd & 4th slots. The comp stays on all the time but you can use the LineSel to turn on the next two effects. Just like the real thing, as if they were in the effect loop. Sweet. I'll have a look at the defretter later.

If someone asked me if, on an upcoming gig, I could play it not on my bass but on a keyboard instead, I'd tell them to royally f**k off. I wish drummers would stop agreeing to use electric kits at gigs. They sound and look terrible. And by all accounts the heads don't even respond like a real drum either. I had to suffer on of these kits at a recent restaurant gig. It wouldn't have been as bad if the guy could play, but no, it was a case of no toys and no talent either. That was a long, painful evening. Thankfully it'll be a long time before I have to hear one of those kits on stage again.

[quote name='6v6' timestamp='1382096020' post='2247827'] I'd be very surprised if anything Mackie makes is "dire" [/quote] The Mackie Thump range are dire. We bought 3 for pub gigs and they have all died on us at some point. We got them from DV, who have admitted they have had lots and lots of failures. They did replace them (more than once), but we don't trust these Thumps now and we will be getting shot of them very soon. I know that the classic 450's are bullet proof, it's the Thump range that should be avoided at all costs. They're built in separate factories and I guess the manufacturing and QC just aren't what they should be.

I absolutely agree. A lot reviews of pedals don't go round the whole range of possible settings, like wet/dry blend, lower gain settings. And I hate it when it's played through some clanky amp, a Ricky and with a pick. Most if us don't sound like this. No, really, we don't. Fuzzrocious demos are a classic example - but in their case they're sh*te demos, but lovely pedals, and they don't show their products off as well as they could. The other end of the spectrum is Ed Friedland, the Bass Whisperer. His demos are a lot more thorough and informative.

[quote name='DolganoFF' timestamp='1382468498' post='2252591'] It usually works in the other direction: human ears hear log pots as more linear than linear pots (counter-intuitive, I know) [/quote] I've just been reading about that. [quote name='mingsta' timestamp='1382469688' post='2252608'] . Sell the P-bass in search of something with a broader tonal palette... [/quote] Sell the P??? NEVER!! Lol.

I'm no expert, but I've heard about linear and logarithmic pots, and the difference between them. Does this have any bearing here re the original post? If this is relevant, can anybody shed some light on this for me? I rewired my P bass a few years ago, and the tone pot doesn't seem to cut much treble until I get down to about 3/10. That's where I can hear the change. I was told by a tech that I probably have a logrithmic pot, and that it may work more evenly if I changed it to a linear pot.

Best of luck getting that sorted.

If you can't find one thats just right, why don't you get one made to measure?

[quote name='Kevin Dean' timestamp='1379915525' post='2218083'] On the MS60b , would it be possible to do this , have these effects in one patch ,Sans amp,Delay,& metal distortion. & use it like this ,hit a note that has a metal distortion & a delay that would just repeat for the entire song but play the bass line over this with just the sans amp sound ? [/quote] In a word, no

I just recieved mine today. I spent a couple of hours playing it so far and I've had no noise/whining issues. I'd get yours replaced ASAP.

I play regularly with a guitarist who has a recently got himself Fractal system. He has spent time fine tuning his sounds and I must say that I'm mightily impressed with it. It's the best modelling system I've heard yet by miles, Mind you, for the price he paid, it wants to sound bloody good.

Check out Cindy Cashdollar. And Junior Brown, although he's not technically a pedal steel player, he has a double neck Tele/lap steel hybrid called a guit-steel. They're both amazing players.

I played a wedding last night. We found out just before sound check that there was going to be a rather special guest at the wedding. I say we, what I mean is, me, the singer and the drummer. Not the guitarist. We decided not to tell him until after the gig as he'd probably sh*t himself. So, right after we finished, we told him. He didn't believe us until the bride went and brought said special guest over to say hi. A thoroughly nice chap he was too. I may consider him for future deps. Only if he can prove he can play a bit, of course. And if he's got his own amp, transport, microphone and good references.......

I'm sure I gave my drummer a man hug as we left the studio today. I can sleep better tonight knowing that I did the right thing today. There better be a 'hug a bass player' day sometime soon......

I have a GK3B, and it doesn't track well down the low end. Those low notes are long frequencies and they are harder for the pick up to pitch. I always play an octave up and assign the MIDI to an octave down. It does the job, but the hassle of an extra cable on the bass and the fact that you can't easily swap it to another instrument is a drawback. Although when I bought it 10 years ago it was that or nothing and it has served its purpose well. I'd love to try a Sonnus at some point.

I play a lot of venues these days that have limiters fitted. Although they stop us from working at the volume levels we prefer, it is possible to play within the limits and still pull off a great gig. And not trip the system. Personally I hate them, but if you're in a venue that has one, you can't change that. It helps if the band members can stay at the levels that worked in sound check. Last summer I did a gig with a 75dB limiter. The band played their asses off, we just did it quietly. And the place was jumping. It can be done.

I got as far as 5 minutes of that. That was enough for me. But now I'm really fired up to get to tonights gig and do the exact opposite - keep it simple and swing the t*ts off the thing.

I'm happy to have the B3 on my board to mostly handle flange, chorus, delay, octave & filter. They're the effects that I don't really need too often and I can't justify spending a shed load of cash on the separate pedals. Or having a massive board, unpractical for most gigs, half filled with gear that doesn't get used a lot. But I love my overdrives and distortions. These I do use, a lot. And I have 5 of the real thing on my board. For me, I have the best of both worlds and I'm happy with it for now. Definitely a case of each to his/her own here, but I'm struggling to imagine how an old digital multi fx unit can try to sound remotely useable next to the new breed of digital kit, like Line6, Zoom, Boss etc.

A week? He should be able to do the set up and hand the bass straight back to you. Job done.

[quote name='BetaFunk' timestamp='1380282242' post='2223191'] Just goes to show that the devil doesn't have all the good music. [/quote] Agreed, he has most of it, but not quite all.

The one that gives me goose bumps is Miserere Mei, by Allegri. The version by The Sixteen gets me every time. Feast your lugs on this.... http://www.youtube.com/watch?v=fcWo1hKHu40 I was fortunate enough to see the Tallis Scholars in Tewkesbury Abbey this summer. They were performing a lot of Byrd, Allregri etc along with a couple of modern compositions in the same style, and they were stunning. Such pure voices and no vibrato in sight

I just bought a boost pedal from Lee. Great communication and quick delivery too. Thank you Lee

I use a 1Spot to power 9 pedals, a B3 included, and I don't have any noise issues at all. Like BigBassBob says, is the 1Spot ok by itself, and have you tried using a another daisy chain?