ped

No, instrument - I wouldn’t bother with super high end speaker cables myself. Any benefit is likely to be robbed by the less than perfect room but in the studio, who knows (though I always go direct)

I was given some vovox cables a while ago and I can definitely tell the difference. I only use them at home where the difference is audible and definitely can’t hear the difference in the mix. They feel nice though!

Bought a pedal which arrived very quickly and in perfect condition. Thanks!!

Have you searched your email? Default behaviour in 2009 I think would have sent you a notification email and a copy of the PM unless you turned it off..

That’s exactly what was on watchdog a while back. There was a special auction house where thousands of items, mostly with address labels still intact, were sent as ‘undeliverable’ and auctioned. I’ll see if I can find it…

The brightest flats are EB Cobalt flats. I couldn't say what the tension is like when downtuned or in the heavier sets but the lightest set feel great on my Stingray. When new, they sound nearly as bright as rounds, but they settle down a little and don't seem to ever go as dead as traditional flats.

🤣

Yes - looks like it.

Psychopathchat

You're trying to convince a. community of bass players that all luthiers are crooks. I know for sure some of us have had bad experiences here and there, but if they were all crooks then none of us would play bass. The function of this forum is to share delight in our craft, and you'll see some 'luthiers' get a deservedly good reputation because they're actually rather good. You've just been unlucky, and now we're all psychopaths.

So just don't buy any instruments then if you don't trust people who make them. Take up the keyboard.

It’s ok to put down every luthier in the world though eh So what will you do with the Ibanez? Send it back? Or find a ‘luthier’? Because any mass produced bass is likely to need fettling and adjusting after it leaves the factory. That’s why handmade normally costs more. Some ‘luthiers’ know what they’re doing. Some are useless. It’s the same in any industry.

Thanks, that's an interesting take on the 'problem'

That's the one!! Looks great - anyone tried one? Is the Joyo any good?

I found the GUITTO GPB-01 Pedalboard which looks great - and the right size/shape. It wasn’t that which I saw originally though so any other types appreciated

Hi folks I’m thinking about making a pedalboard now that I have a regular band practice. I remember seeing a pedalboard that used blocks to hold the pedals rather than Velcro which I think looks great - can anyone remember who made it? I think the board had a power distributor built into it too. Cheers ped

Maybe it did but he missed it - it’s happened before, even made it to watchdog at one stage!

It won’t have been destroyed. It’ll turn up somewhere having been auctioned at one of the shipping companies ‘lost item’ hauls. Tell him to keep his eyes open.

Sounds just like a noisy pedal to me. Especially as the noise reduces with settings. I’ve had compressors which make noise like that - just send it back and try something else I think.

I’m pretty convinced that clean blend doesn’t work (for me) with bass distortion/overdrive. I think a well designed bass centric pedal sounds better with the full signal rather than split, which can give a ‘angry fuzz in the background’ type feel. Just my experience - but my faves don’t have a blend and don’t lose any low end.

I went on a bit there didn't I? My wife was talking to me the whole time and when I finished she was looking at me, having clearly asked a question... I said 'yeah' and she seemed OK with that... Also thanks for the recommendation @Deedee I've booked the room for August and had a long chat with Paul who was very accommodating.

Oh and I was delighted with the sound of the Aguilar Grape phaser. Had lots of fun with that with some palm muted grooves. Finally - as my initial test indicated, the compressor on the Blackstar is excellent. I used the MXR M87 in the studio but the simplicity of going straight into the amp was really nice. The compression is natural, acts more like a limiter when balanced with the input gain and the attack is very fast so none of that breathy seasick sound.

I spent most of the studio day on the Celinder which is where it excels - I’m just perfectly happy with the 70s sound from that bass. Live, I find jazz basses a bit harder to hear and didn’t spend long playing with my amp but will do next time. The Stingray was used for the live session and I think of all of them it matched the amp the best, again I only messed with a few ‘voicing’ and ‘response’ settings but it just worked - the inherent ‘clicky’ sound coming through perfectly and although I was worried the cobalt flats would sound a bit dead after the sizzle of the Celinder, they gave me some of that chunky response of the P and the clear pops on the G string. Honestly I was really pleased that they all sounded exactly as I had hoped. It just so happens that the SB1 suited the grooves we came up with the best and I’m ‘hearing’ things in a P bass voice lately. I took the Vigier too of course, and I used it to get the amp sounding ‘flat’ for a kick off before the others arrived, otherwise it stayed in its case because I didn’t have time to use it much. I really feel that with these four I have everything covered. Honourable mention to the Backbeat which I used live and studio - simply can’t be without it now!!

Here's the extension cab!

Hi Gary, you can have as many ads as you like so there's no issue there. I'm not sure what you mean by getting locked out, did you log out or something by accident? I noticed you just posted an ad in the effects forum as opposed to the 'effects for sale' area so maybe it was that? Let me know if I can help, it can be confusing. Cheers!