ped

I got a strap with pictures of Fred and Sybil on it ❤️ 

Supporting members shouldn’t see any ads, something isn’t set up properly I think. 

Merry Christmas guys x mwah 💋 😂

A little video, not much good but it gives a good idea of what the bass might sound like in better hands!

19 minutes ago, Stub Mandrel said:

 

It's also a demonstration that although high mass is different, different doesn't automatically mean better.

Honestly, I was amazed by the difference (sounds like a YouTube video title)

Is there a piano equivalent? Tone ivory?

I've put the original bridge back on just to see the difference. I actually prefer it - somehow the D and G strings in particular are warmer and fuller, whereas the Albridge is more treble and more even. Whilst this might be more desirable on fretted bass, for fretless I think the original sounds better - there's more 'cross talk' between strings and overall the whole bass feels more alive, less clinical. Trills, for example, are much more pronounced and there's a thicker more midrangey 'mwah' to the notes, despite the bridge not going as low in terms of action as the Albridge. 

I really was quite surprised by the difference, it was really clear from the first note. As a result, I might sell the Albridge if anyone in the UK is after one (I'll list it later)

There's something about the shonkiness of the original that I like, too. Whilst the D and Gi intonate very well (more by luck than judgement) the E and A are fairly close up to the 9th, close enough for fretless... 

The Osmo oil finish on the fretboard is holding up perfectly, I am pleased to report. Amazing stuff!

2 minutes ago, LukeFRC said:

Not every one, there's a few ways to do an envelope filter electronically... the Meatball is a very very hyped Mutron 3 topology. 
Not that my pedantry matters, as we know from the 6 billion Big Muff varients tuning circuits and a few components being different values can make a massive variation on sound. 

I just mean in the sense that the Mutron was the first (as far as I know!)

5 hours ago, tauzero said:

 

When you say the original maker, do you mean of the Mu-Tron III that Lovetone based the Meatball on?

In a sense, every env filter is based on the Mutron. But the Meatball is a different circuit altogether. It’s not a ‘copy’ like the Behringer.
 

Same goes for the 3leaf Chromatron. It takes inspiration from the Meatball but it’s a different design. 

Awesome pedal!

Yes I have one. I’m in love with it! I’ve never been able to hear myself on stage better with it off to my side leaning back. The DI is great and it’s been flawless. I have everything flat and occasionally use the tilt control but that’s it.

41 minutes ago, LukeFRC said:

Do you think they bought one and traced it themselves or just used Aion FX's or someone on freestompboxes trace?!

No idea, but they definitely used tracing paper for the logo!

21 minutes ago, LukeFRC said:

If it's a live brand it's a lot easier to send Behringer a cease and desist letter for using name and trade dress? 

Is the original company dissolved maybe?

It's pretty cheeky of Behringer to say they've been on 'a proper mission' to 'bring back' a bunch of pedals that have just straight up copied, (unless that line is Anderton's own work) but I know this is not uncommon in the pedal world and lots of clones are available. Copying the graphics this closely is taking the piss a bit though.

I haven't tried the B-tron or the Meatringer but I'm curious to see what Lovetone will bring to the party. The only thing I would find useful would be a foot switchable effects loop like you find on the Chromatron but beyond that, and as someone who loves the original massive housing, I'm not sure how you could improve it.

5 minutes ago, Crusoe said:

Is this a new variation on Godwin's law? 😄

Jaco’s Jurisprudence 👨‍⚖️

This is my office. Spot the pedalboard!

25 minutes ago, jazzyvee said:

I bought a Porter & Davies board when the band I was in went all in ears. I did like the added depth and feel that it provided but, the band never got the IEM system set up properly and the whole experience was just frustrating. Also the board weighs more than my bass rig and is more awkward to cart about. I haven't used it in over a year now. I am considering connecting to to my surround sound sub woofer channel and popping the sofa on top and using it to add another dimension when watching films and concerts.

That idea has crossed my mind too. I love my Tecamp Bass Board - I only use it at home but paired with my headphone rig and my backbeat, playing is a physical pleasure which is just so immersive. So much so that I’ve tried similar devices for music and films in the lounge (in the office I pump my music through the bass board as well as my Hifi which adds great depth). I tried a Woojer strap which just felt a bit muddled with the signal and didn't seem to behave very quickly, maybe I need to play with it more. 

Thanks Dave

16 minutes ago, Owen said:

It will come as no surprise to anyone that I did not actually build one. However, I recently picked up anEich Bass Board from Happy Jack. It is giving me IMMENSE joy. I played without it recently and realised how much I enjoy it. I can play at volumes which no one questions, but enjoy super LF action. 

 

 

Ever tried a backbeat?

2FA can be added here (once you're back in)

https://www.basschat.co.uk/settings/account-security/

8 minutes ago, LockedOut said:

I've been a Basschat member for some years now, posting as 'BassedinBucks'.

 

I was in the process of buying an item from a fellow member and whilst away from home, tried to respond to his message on my phone. For some reason, I couldn't access my account but I kept trying. Then, a message popped up telling me my account was locked. I have been trying to get back into my account now for over 24 hours, yet I'm still locked out. I am using the correct password.

 

There seems to be no multi-factor authorisation process, such as a 6 digit code texted to my phone, and no instructions advising what I have to do to un-freeze my account. I tried to look up information, but.....you have to be logged in to see it.

 

Can anyone help me please, this seems to be a very bizarre feature to have on this chat forum.

 

Regards,

 

Anton

Hi there, I've just unlocked it (it said too many failed PW attempts?) - let me know if you have any other problem, for example I can rest your PW.

Cheers

https://reverb.com/uk/item/93109785-atelier-z-zpo-4-jr-short-scale-natural

13 hours ago, pantherairsoft said:

I was reminded of this thread and thought I'd do an experiment over the last few days. A side by side of the OC2 and OC5, focusing on the -1 octave solo'd (does anyone use any other part of this pedal!), both at home via a small combo, and in the rehearsal room with a powerful rig, and both solo'd and in a mix.

To start, I should point out that my OC2 has the -2 octave disconnected, which boosts the output volume to the pedal. Side by side with an unmodded version, there is zero tonal shift to my ear, but importantly this makes the -1 octave volume absolutely identical to the OC5, overcoming the usual volume dip these pedals suffer. Having them at the same volume really helped this experiment. I should also note that this is a made in Taiwan OC2, that needs the ACA adapter (12v, which is then knocked down to 9v in the pedal) - Note on this at the end.

Also note that the OC5 was set to Bass and Vintage modes (which replicates the OC2). I'd like to give special mention to the fact that in poly mode, with the -1 octave solo'd and the Range knob set to 'lowest', the OC5 is a useful tool for some sub frequencies if you play it as though it was a mono octave pedal still, for those who don't want to destroy the building with a Dod Meatbox. The rest of poly mode is, IMO, very meh, but that one trick is a nice addition.

So, the comparison...

Here is what I did.
1. Side by side solo'd at home via Markbass MicroMark combo - focused on tone and noticeable latency.

2. As above, but into multi effects - OD, fuzz, envelope filter etc. to test how they played with other pedals.

3. Both of the above steps in the studio via a Markbass SD800 and Schroeder 1212L (LOUD). First without the tweeter, then with the tweeter dialled up - solo'd with three other musicians forced to close their eyes, listen and give me feedback. One of them was a drummer, so you can disregard their thoughts

4. As per the previous step, but in the context of a track with drums and keys/synths.

5. Absolutely everything above, in both active and passive mode on my bass.

 

Here are my/our findings....
Latency - Absolutely no difference at all. In fact, I sat and played a few lines with my eyes closed and had others change the pedals so I didn't know which was which... and feeling wise I couldn't tell them apart (again, remembering that I am talking only about vintage mode on the OC2... in poly mode, yes, I can feel the latency).

Tracking - Identical. I've seen lots of folk say the OC5 tracks better, but under a microscope and with clean playing, there is no difference at all. If the OC5 does track better, then my playing style doesn't allow me to highlight it. Both track down to an A on the E string without too much issue, and can track lower if you're very careful and don't mind the additional artefacts in the sound.

 

Tone - When solo'd and studying the sounds very closely, the OC2 has a 'tiny' bit more breakup on the lower notes/E string when you dig in. It's so minor that I had to check over and over to be sure I was hearing it. Aside that, neither I, nor the other folk could tell a difference between the two, with a focus on my playing style, I was able to circumvent that extra breakup. Also note that without the tweeter on the cab, this difference was inaudible. I should note that it's not a pretty overdrive, it's just digital clipping and not something I'd ever 'want' to replicate. Now we're talking ears, not a frequency analyser - and that's what matters - what we all hear. I like to think I have decent ears (former mastering engineer), but I am in no way an authority. To me, however, it was impossible to tell them apart aside that very close study Literally identical on the A-C strings (I play a 5, strung E-C). 

 

Active vs Passive - compared to each other, the OC2 and OC5 sound and respond identically to the passive setting. In active mode, the very slight breakup we mentioned about the OC2 on the low E kicks in with a slightly softer playing. I play soft any way, so I had to force it to make this happen. I usually use the bass in active mode and nothing about this test would make me want to change it. In fact, I'd say the active output form the bass actually helps the tracking of both pedals a bit.

With other pedals - The response and combining of them with other pedals was identical, it even made noticing the OC2 tiny low end breakup impossible when it was run into any kind of drive, filter etc.

 

The feedback above was unanimous from all (only I can comment on latency), no one could hear a difference at all and in fact, I'm the only person claiming there was a touch more breakup in the sound on the E string.

After a few hours of this questionably pointless experiment, here are my pros for both...

OC5

• Easy to find at a reasonable price.
• Nails the OC2 sound with zero latency.
• Has other options, even though you'll likely never use them, but maybe for that one song.
• Still under warranty if you have an issue.

 

OC2

• People think you're cool because you use an OC2.

 

Extra bonus test - I also tried running the OC2 at 9v, even though it needs 12 via a power supply (these ACA ones still use a 9v battery or can run on a 9v if you daisy chain it from another pedal, which is odd). I did this because I know many people out there do this without realising that the ACA version needed 12v and have come to voltage starve their pedal for many years. Aside the dimmer LED and drop in volume, which many folk thought was just the way the OC2 was, this introduces much more noise and breakup into the tone. Being honest, it's still totally usable, and for anyone that accidentally got used to using an ACA OC2 this way, the difference in tone between that and an OC5 is quite notable (and wouldn’t surprise me if this was the cause of some claims of the two being audibly different!).

 

While the voltage starved OC2 doesn't sound great to me, it does 'add something' which is very artificial, which I can see people liking it in its own right. That is, of course, not the point of this comparison though.

So, which one stays on my board? The OC5, but only because it's easier to replace if someone spills beer on it. I could happy pop either on there and no one would know the difference.

Thanks for coming to my TED talk.

 

Call that a TED talk? What did you learn about B2B sales and SEO from your test? 
 

(Actually, I love TED, I’m thinking more about LinkedIn - dare you to post it there)

8 hours ago, Jack said:

Googled this to find out a little bit more about it as I often do with marketplace listings and I was pleased to see @pedhas started offering 14 day returns. AI at its finest. 

 

 

You’re welcome to return it to me, particularly when it wasn’t supplied by me 😂

I've always loved these since I learned that Trevor Dunn used one with Mr. Bungle. Got any sounds? Curious to hear how it compares to my Elan

3 hours ago, ikay said:

This is curious. Here's a flux pic of the Benedetti SCs in my Excess and the mag field (blue) shows through the centreline of the pickup where the poles are. On the pic above the flux seems to be showing as a halo rather than through the centreline. Having said that, I don't know why mine are showing a white halo!

 

 

It's because I used to own it, so it's become holy