DanOwens

It comes down to the ancient mysticism of Equal Temperament. Lets take the note of A# or Bb. On a piano they are the same note but in True Temperament they are two separate notes separated by a microtone. When playing fretless or upright we can make the adjustments to correctly tune the notes (my old bass teacher Steve Berry was a god at this stuff). I guess if you're ear is listening closely, you'll notice the tuning dependant on the key signature that you're in. Dan

[quote name='solo4652' post='1261255' date='Jun 8 2011, 02:45 PM']I can't depend on PA support for the larger gigs. So far, I've never played through a desk - I've always been self-contained and I quite like that.[/quote] In that case I guess you've actually got it pretty good. Short of replacing your Rolands with two Neo cabs and a lightweight head, I think I'd do it similarly. I have the Hartke for home, an old Marshall combo for rehearsal and a Markbass / TechSoundsystems for Live. Pretty similar in approach to you.

Do you have no PA support for those larger gigs? This is, to me, the critical question. I use a Hartke A35 for home and acoustic practices. Very small but decent low end and I'd recommend to all as a practice amp. I always gig with PA support so extension cabs and a large amp are completely unnecessary since the amp is effectively a preamp for the PA and the cab is just for on-stage monitoring. Dan PS. I have a rather successful sound engineer friend who always complained about bassists bringing amps that were too loud (incidentally he suggested anything over 150w was too loud)

The Moog is a LowPass only and doesn't do BandPass. I'm all about the BandPass for Dubstep.

The EHX Bass Microsynth has an 'Attack Delay' slider which is effectively an 'Attack' control from a VCA ADSR control, but I'd go for the Behringer or kit.

[quote name='shippo' post='1252614' date='Jun 1 2011, 12:58 PM']Improved slap sound, fuzz, synth, filter, compression and some different amp sounds[/quote] I'd probably say a Line 6 Pod HD if you're after Amp Emulation. If it's just effects then there are loads to choose from but the Amp Sim stuff is where it starts to get a bit more complicated. My advice though would be a Line 6 M9 and use EQ and Drive to simulate different amps though. Dan

I bought an LS2 off Andy. It took 3 weeks for him to send the item and after 1 week he stopped returning my PMs and emails. I thought I had been scammed, but actually he was just lax in his delivery. Dan

Yeah, if the interface is easy to adjust then I might sell my Adrenalinn. It's great but I only use it as a LFO>Amp/LPF and I feel like I'm not getting the best out of it (some great modulations in it go totally unused). Dan

Nice one, man!

[quote name='lucky' post='1245940' date='May 26 2011, 05:35 PM']so i'm wondering if anyone's had any experience getting these kind've sounds using rack gear? if if so- what?[/quote] Only my MIDI setup which (for a while) was fully racked. I use a M13 for some great sounds and from my understanding a liberal use of the TC gear's effects can produce some fantastic sounds. I think you'd need a few hours programming it though. Dan

I've had them on a jazz bass before and they were a bit weedy compared to every other string I've used. They're now on my acoustic for a laugh.

I've found that buffing a lemon-oiled fretboard will bring it up in a shine but once the oil has soaked into the wood it's just a darker colour (rather than a glossy finish).

I think multi effects have come a long way since I first tried my guitarist's Zoom 505. Perhaps more importantly I have a better understanding of how to use effects. I have a Line 6 M13 as well as 2 boards of pedals and I suppose that (IMO) you have two paths. The former would be my choice: 1. Listen to examples of effects and decide what sounds you like. Buy a decent multiFX and work on finding those sounds on your own, then try and apply them in your band. This method has intention and process, in my mind these are the key to success 2. Buy a multiFX and make some sounds that you like, experimenting to find whether (for instance) a flanger, phaser or chorus is the sound you want. This method is more trial and error. Happy accidents can prove fruitful. Dan

I wanna see the two main basses from this most awesome thread combined: A double-neck with 15 strings on each neck. The bass would start at your chin and end at your shin.

My friend works in SEO and has a few of these sites (but not this one). She creates a website with lots of key words on (so it appears high in google) then links to shops where she gets commission for clicks and sales. Notice all the ebay links? He's probably a third party seller of equipment that asked an SEO organisation to create a path to his shop, hence the bizarre claims/statements. Dan

[quote name='ray57' post='1228277' date='May 11 2011, 11:56 PM']Who cares?[/quote] Don't feed the trolls.

It depends on what you mean by thicken, surely. Distortion, Octave, EQ, Compressor, Chorus, all these will add more harmonic content but each in their own ways. Dan

The almost-horrible gig was with the same band. It was a fairly major local festival (crowd of 5000), but when we saw them sweeping huge puddles of water of the stage just before we went on, we called it off. I don't know who they put on instead, but the stage was swarming with paramedics within 10 minutes.

Yeah a Boss LS2 is a good choice and can be used as an AB blender. What band do you play with? Your effects and implementation sound right up my street. Dan

Played drums in a band with 3 synths, 2 guitars, bass, kit and 2 vocals. The venue had a 4-channel desk with only 2 inputs that worked.

If you're not using a hardcase or using a Ibanez Gary Willis signature (with 3-point tuning pegs), then this is just going to happen. The thing is, there are many, many things that will cause your bass to detune and the idea of not tuning before I go on stage and checking my tuning during a gig is preposterous. You really need to tune with a tuner before you go on stage [b]at least[/b]. I'm serious, you're probably out of tune and sound horrible. Really, very serious.

[quote name='thisnameistaken' post='1221152' date='May 5 2011, 03:12 PM']There's not a massive choice of modulation effects though, and the effects that are there often seem a bit too... specific. They aim to capture the character of well-known effects but you might not find a good generic effect in amongst the historic models.[/quote] I definitely agree with these ideas regarding modulation, I've just been fortunate enough to like the models on offer and tweaked them to fine-tune my sound. The tri-chorus has frustrated me though. It's very almost the sound I want but I can't tweak it to perfection :s

I use an M13. It has an effects loop so you could place your compressor after envelope filters (for example). There's a lot to play with and a couple of hours messing can produce some awesome results.

Hi Jake, It's Dan Owens (incase you haven't guessed). Welcome to the forum, and the inevitable purging of all spare cash and time! Dan