uk_lefty

Tricky one, I guess it depends how you sorted the cost of things like the monitors already? . If someone in my band wants a new guitar/ pedal/ IEMs or whatever they buy it themselves. Lighting, the PA, the bag of hardware, insurance costs, etc. are paid for out of the band fund which is 50% of our gig takings. I know if I leave the band I leave that kit behind, same with other members, and I'm fine with that.

This is really helpful... I am toying with replacing both my practice and gig rigs with one of these.... Tempting!

I've used mine a little now, mostly at home but then last night doing "silent" practice via PA and headphones. The drummer wasn't going the whole hog with the gigging kit and the guitarist brought an electro acoustic, lead guitarist not present.... So far what I've noticed is that the punch and depth or thickness of the tone is not lost. That's the winner for me. The actual distortion sounds Alpha and Omega (or Omicron?) I have to be honest are not too different to me! I've got the duality fuzz and the two modes are very different, with this I'm not hearing as much of a difference. Nevertheless I want to get this tried in the full band mix at volume to hear what it gives. Having used guitar pedals with mixed success and needing very precise settings I'm just pleased I've got a tool made for the job. Not sure I'd pay the full shop price but second hand off BC I'm pleased with what I paid and can't see me needing to change this.

It's one of the most eye-openingly bat-sh!t crazy places on earth, from an English person's perspective anyway!

Right now, as an almost forty years old with a wife, two kids, and a dog... No. Not unless I won the Euro Millions (no email telling me to check last night's results so I haven't) and money was no object so I could basically be in my covers band as a "full time" job. As a younger man I'd like to have given it a go with a band. I have never been good enough a player to adapt to instant instruction on new material so I would never get remotely near studio work, sadly. Having acquaintances who tried to make a living out of music I know it's really, really tough. One quickly became a teacher, the other worked for a music hire company. One travelled all over London rarely breaking even on his travel and expenses to play gigs for anyone who'd ask, the other was in a band who were desperate to "make it" and wanted a lot more dedication than he could give. Weirdly they are good mates together and both moved to London with a band trying to make it in the first place, probably early 2000's.

Good quality strings will always make a difference. Add in a pro setup and I think you'll definitely notice it in the feel if not the sound.

I had a first generation V7 5 string and it was fantastic. I only sold it because I felt guilty after splashing out on a new US Stingray, wish I still had it. I then got a V9 five string, excellent, excellent bass. Then I gave up on five strings, I'm a four string with a drop tuner kind of guy, and I keep longingly looking at Sire P basses now...

The singer often reminds me in my audition I said "I'm not an effects guy". The latest change... Marshall Guv'nor overdrive and Boss Ds-1 distortion off, Darkglass Alpha Omicron on and Joyo delay reinstated.

Problem solved... Have bought a bass specific drive pedal. DG Alpha Omicron

Harley Bentons are very good just stock. I don't think you will get a wildly different instrument by making upgrades tbh. I have gigged my Harley Benton a few times this year, no modification at all required.

In terms of layout, controls and size it's similar to the old Darkglass Duality which is an absolutely phenomenal pedal so I've got big expectations.

Arrived in the post this morning. Going to test it out tomorrow hopefully.

Nice! I need one for my jazz, where did you get it?

Music, and jam nights especially, are not the Olympics/ Superbowl/ FA Cup Final. Nobody is paying to watch and there shouldn't be a competitive element. In my first ever gig I fluffed a song I knew inside out having practiced a whole year as a band before the gig, I played a three chord sequence on the A string rather than the E. I left the stage at the end in a huff with myself for messing up but it seems it was only me and the drummer who noticed, and he was laughing it off. The guitarist who was usually a bit of a taskmaster just said "I thought something was off but guessed it was me". Nobody watching noticed or cared because they were too busy enjoying it. Now when I make a mistake I can generally laugh it off with the rest of the band, and work on it later... unless it's a whopper like getting an iconic riff completely wrong, then I accept the bum kicking!

Ah, That's why I like it, Aria SB type position markers!

I don't usually find the Yamaha BB attractive to look at though they sound great, but I really like that, especially the pickguard shape.

They are awesome. I went for green

And so it continues! BF-3 flanger and Dod FX25-B envelope filter added. No room for the Joyo analogue delay right now. More changes to come, I'm going to move on the Marshall Guv'nor and Boss DS-1, much as it pains me to do so, and replace with one good quality bass distortion pedal.

Listened to all of this in installments. It's like when you go to the pub with a mate but he's got his other mate there and they talk about things you weren't part of and can only relate to a little bit. I had to search out "Voodoo" and will now give it a listen but not knowing that album or it's history made the vast majority of that podcast just background noise, sadly. I'd have loved to hear more about some of his pop work in the 80s and the experience of playing with the Who but it was barely touched upon, unless during parts where I fell asleep.

My JC bass is so pretty I chose that to feature in the estate agents photo of my office. Perched on a stand in front of my amp. Classy, old school, sparkly gold but not brash. It's perfect.

I had one for a brief while. In summary: good for passive P bass, not good for active jazz bass. As with all of these things, you really need to try it with your kit and your playing, because what sounds great for me may be awful for you and vice versa. Sorry I can't be more helpful, but generally I want to love EHX stuff but always end up disappointed, apart from the Micro Q Tron.

I can sort of do that with my preamp pedal but it kind of gives me too weak a version of each. I'd prefer if the DS-1 didn't pull so much of the bottom end and the punch out of the sound but kept the distortion.