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I’ve got mine on 400hz, though I usually just use Girth & Growl with no original signal for getting synth basics & the boost is usually off if I do blend in the original.

Wait until you get things like Moogers, the MF-101 took about 180-200mA (can’t recall exactly, but it was greedy). The MF-105b took about 80mA.

Hey @Grangur It’s the original PUPs. Other than the finish, the only things I changed were the bridge, the electronics (it used to be active, but I stripped it out & replaced all the wiring & components), the knobs & the old synth style knob is for controlling anything with a CV or expression pedal input. The bass is an Ibanez SR1000e strung with D’addario flats (Chromes).

Most pedals that say 9v are usually 10v (or so I’ve been told) & will usually run on anything from 7-12v (the Moogs are fine on anything from 7-15v). As long as there’s enough mA for the pedal, don’t worry too much about volts. Having a pedal that wants 80mA won’t change the voltage. A 9v psu will provide 9v regardless of whether you’re drawing 80mA or 480mA. Its quite common for guitarists to use a lower powered psu on dirt pedals or even make a voltage reducer so it sounds like the batteries are going flat. It causes the signal to break up more & gives a very lo-fi sound.

Good move. I'm not sure when production ceased. I bought it new at the start of 1990, the serial no dates it as late 89, which makes sense as they had to order it in. I know the later models changed the PUPs to EMG & then they stopped doing the PJ config not long after. The bass was originally black but 7 years ago, I decided to strip it down. I had intended on painting it, but when I saw the grain, I decided to oil & wax it. Here's a link to some pics of that process... https://flic.kr/s/aHsjuw23Lc There used to be an Ibanez website with loads of info about discontinued instruments, but I can't find it just now.

The pedal will draw as many mA as it needs, so a 150mA pedal can go on either the 200 or 500mA feed, but don't put a 300mA pedal on the 200mA feed. Same goes for that 18v, don't put a pedal that needs more than 100mA on it. So technically, you could put a daisy on one of the 500mA feeds & run 3-4 100mA pedals from it. I'd love to get those 2 Moogs back sometime. The sound they made was immense. If you've got a spare 15 mins, here's my old board with a full run through.

It's got the IBZ USA C2 PUPs, PJ config. I've never noticed any noise from the BOD when I'm not playing. Could it be caused by the signal from your bass if it's an active bass? My Ibby is passive.

It was the solo octave down that I was referring to. With a mostly clean & just a touch of sub, then I can play open E if I like as it's just adding a bit of depth to the sound (which the BOD is rather good at). It's when I'm doing synth sounding stuff that I find anything below A doesn't track too well, though I'm gonna try on my own at home either today or tomorrow. I always run the neck pickup & sometimes blend a little bridge in too.

I play an Ibby SR1000 with D'addario Chromes. Turned it into a passive bass a few years back. I'll need to try & see how it sounds on the lower notes, try & get that low F. At band jam, it didn't sound good below A, but the house rig could be adding to that.

I've never tried it, it was just a thought. Though I know envelope followers often work better with a "not so hot" signal. I've never had any major tracking issues with either the OC-3 or the MXR BOD. They both track down to A (5th fret on the E). Both seem to wobble on the Ab. As this is a "Which octaver" thread, here's my tuppence on the 2 that I've had. The OC-3 is very similar to the OC-2, but it does have a different tone to it. However, the tracking was better than the OC-2 that I tried & I liked the poly mode too. The MXR BOD is very different. It has 2 versions of a -1 octave called Girth & Growl as well as a clean. It can get some decent sounds for your base synth sound, but with the clean blend & a mid boost, it really does do funk pretty well.

I'm another who doesn't have a compressor on my board (I do use one to record). Like jposega says, having one at the start isn'r a bad thing if you've got it set up right, though you don't have to have it squishing to limit the dynamics of what goes into an envelope filter. I've never had any issues with tracking where I thought "Oooh, I need a compressor", though if you are having trouble, why not try a signal booster before the octaver & then don't have the octave out at full (so it's not giving too hot a signal to your filter).

I'm not sure about digital being more fussy than analogue. The Moog LPF was analogue & it wouldn't share. My current filter is a BEF Pro, which is digital & it has no probs sharing with 4 other pedals on a Godlike Powerall (similar to the oneSpot). A brick does look more professional & if you need to power more than 6 pedals, then it makes sense to do that as opposed to 2 daisy warts. But a daisy is a good bit cheaper & you can run a noisy pedal on it's own PSU. Old board had a 2 gang extension run to it, one wart for the LPF, one for everything else. Now just the daisy...

I was hoping you'd found a switch I could fit to my wife. Sounds like it may be dry solder somewhere. If you don't know what to look for, then it may be worth getting someone who can give you a quote.

The audient interfaces look pretty good for the money. I think it’s hard to get a bad interface & the main things to look at are what connections do you need from it & if you need any software, what comes with it. I wanted 4 ins and midi, hence going for the NI KA6, & it’s been a great bit of kit & solidly built.

I play a couple of instruments, but this has been getting most of my attention lately... Pretty good for bass in the band too.

+1 That’s partly what I was inferring to when I said “to make things easier”. I was trying to learn Superfresh by Jamiroquai, but without the low B, my only option is to use the octaver & it’s probably trickier to play on a 4 like that.

IIRC, Billy Sheehan said something along the lines of "I'm still learning the 4 string & once I've mastered it, then I'll add another string". The benefit of a 5 string is having those 5 lower semitones (though you could buy an octaver & have 12 lower semitones ). If the songs you play call for the lower (or of you string it E-C, higher) notes, then defo go for it. If your playing style means the extra string will make things easier, then again, go for it. If you want a 5 string just for the sake of having a 5 string, stop. Have a think & work out why you're going for a 5 string & not a 4 or 6. I've played a 4 string for 30+ years & never needed more. That doesn't stop me wanting a 5 string fretless though.

You'll need to have very good hearing & still need to know what you're doing. The point of compression is to not hear what it's doing. When it comes to relying on your ears, there's a chance that you could either over compressing or not do much at all. There's also the chance you'll get it right, but you might never know. I'm not saying you should only buy a compressor with a meter, but a meter is better than using your ears unless you know exactly what you're listening for. I think (& I might be wrong here) that most pedal compressors have parameters pre determined to a degree to make it harder to over/under compress than what a compressor with metering would allow. Here's a useful link: http://web.archive.org/web/20130215154741/http://blog.basschat.co.uk/setting-up-a-compressor/ Reading the OP's post again though, he might be best suited to a 1 or 2 knob compressor.

Aye, okay. The thing with a compressor is that you're using it to level out your sound (to bring up the quieter notes & trim the louder ones down a bit) & that's not something that's instantly noticeable to most people just with the ears. If you have a meter showing you where the note db is, then you can make the appropriate adjustments to stop notes spiking above/below that level. There's a whole thread on here that's dedicated to compressors & how they work. I'd suggest searching for it, it's a good read & very informative.

Ideally, a compressor should have some sort of meter so you can gauge what it's doing, otherwise you're just twiddling knobs & pretending you know what you're doing. Though there's a lot of compressors without meters that do a decent job, but I think the user may have to guestimate things.

Sounds like a good reason to take up double thumbing.

I find them an exceptional band. I know a lot of folk don't like JK, but he's a great front man & a great vocalist too. The bassline in this is fantabulous...

I'm not going to derail the thread & I can get where you're coming from, but the main cause of pubs & clubs not wanting to pay much for bands is because of the twazzicks that either play for very little or even pay to play. I had the same issue with cakes. People saying "I can get a wedding cake for less than £200 elsewhere". I'd tell them to go elsewhere as I was already struggling to make a profit. Numpties making "wedding cakes" & charging peanuts. Though the cakes spoke for themselves.

But then I get to hear of musicians that I never would have. I do think that musicians should get paid more, but then it's musicians who are to blame for that. My guitarist keeps commenting about getting signed & raking in the dough, but there's 3 main stopping points. 1- We play 60s & 70s inspired rock music (I suggested the band name be "Grandad's Grooves"), 2- We're all old (apart from the drummer, he's 24 but looks like 42) & 3- the singist isn't even mediocre. I can't see us getting out the jamming room, let alone gigging. My point being that musicians can make money if they're creative, make music that people want to listen to & are actually good. They do need to put in a lot of effort & this could even require moving to somewhere where they can get heard (AKA not Perth), but the recorded music is the advertising to get the punters to spend money on you.

That's easy. Bladerunner by Vangelis. Probably one of my fave albums too.