Woodinblack

It sounded quite good really. Just turned out I didn't play 6s and I found the parallel neck didn't work well for me, but as that is what you are looking for it would be good. Yep, that was my issue. One of the other weird things is the bass / treble controls are backwards!

I have tried several times to get into flatwounds and I really can't, tried them on the fretless and on stringed basses, but nothing, went through a couple of packs of chromes at various times. Got some tape wounds, and they sort of worked for somethings, but took them off the maruschyk as they were too soft and put them on the G&L which I don't use much. I think they might work there. I can't say they are going to become a favourite, but I don't hate them there, and it is the first time I haven't!

There is the ibanez GVB36 like I had, which has a tighter spacing than the 1206, 15mm I think rather than 16.5mm or 11 like a SRC6. I had one but for me I had a problem that the neck spacing wasn't tight enough. https://www.andertons.co.uk/bass-dept/bass-guitars/modern-bass-guitars/ibanez-gvb36-signature-series-6-string-bass-guitar-in-amber

Yes, my other (ie, not my regular gigging) band just collapsed as the keys player had made it hard for us to do anything and I think it was just a question of who went first. Seemed like after a recent gig things would calm down and we could get on with stuff, but no, the old problems came up and now everyone (including the keys) have announced they are leaving. A shame but not a surprise. However, I don't think that there was a way of addressing those issues early, as I think it was very embedded in personalities.

What is a better tone? No-one makes a bass and things 'lets give it a bad tone'. I have played the Ibanez and the stingray. They both sound fine but they sound different from each other. Personally I would go with an ibanez because I like thin necks (although the 6 is hardly thin), but most people don't get on with them. The corts are probably going to be similar to the ibanez. I suppose you are going to have to go for a shop with a good return policy. However, for the new price of any of those your options for second hand opens up more.

Depends if you want a 5 or a 6 really, quite a fundamental question in there!

Bloody hell - does Maynard come and bring you a free bottle of wine with it?

Hard to say, I like olympic white, but I have none. So as my favourite basses are Poplar burl or Redburst ash, I guess those!

Bear in mind that up until recently the way of ordering a Maruszczyk involved emailing them with some specs you wanted and getting something build, so there are a large amount of variations on a theme. For instance, mine is an elwood, and if I had to pick one it would be closer to the Elwood L24 than the others, but it isn't necessarily one, it is just a chambered lightweight 24 fret elwood P/JJ

I like the album, I looked for the CD, but see there isn't one. Fair enough I will listen to it on apple music. No real standout tracks for me, just like the whole thing.

Anyone that says that x and y don't go together is not worth listening to (well, obviously unless its pineapple and pizza). I run permanently on the HX effects with a very short slapback echo which fattens the sound, and I have a long tape echo for a couple of songs. Echo works great with bass.

Not sure I would like to put my speakers as the top ones on that stack! Also wouldn't work for our band, the singer likes to walk around and dance a bit, might not work out so well

Yep

The latter. Pressing freeze just holds the synth where it is so it doesn’t trigger where you are playing or fade away

I did just before a group folded. it sounded ok. A lot of songs are samey. We have ditched a few songs because after doing them they are just a bit.. meh. People keep playing Dakota and I have never heard a version of that that wasn't dull. Every group I have been in in the last few years I have managed to get it taken out the back and shot. I don't hate it, it is just like supermarket music, offensive and dull. Well reminded, we started that once and it seemed to dissapear in a group of other songs, maybe time to get it back.

To be fair, i have an ashdown class D (its the mibass I mentioned). Its perfectly reliable but not very exciting and not something I use. I need to remember to move it on.

So for my reference - what is the leading competition? As far as I can see, the only other polyphonic synth pedals are the SY-300 (which is quite a lot bigger and older), or one of the actual synths such as the GR5 / GR10s, all of which need a hex pickup. I would say if you are looking for a boss sized poly synth pedal, this is entirely in its own category at the moment, unless SD have something?

I never heard that before. I thought it was just they still make A/B amps while the world was interested in class Ds You mean the Trace Elliot that got bought out by Kalman who kicked the engineers out (who went on to form Ashdown) and then sold them to Gibson who shelved it? If so, there might be a reason for that

I am not a pedal guy - I am happy with most multieffects. I hate all the wiring and hassle. Probably because I spent most of my early years as a major pedal guy but since then I have spent too many lost hours of my life standing next to people trying to get their pedals to work so we can get on with the gig. But, this is the first pedal I have had in ages that is something I couldn't approximate with something else, and genuinely does something fun and relatively unique. And it is just so useable - no setup, just find a setting and play it.

So what is the input to that compressor? Is it direct from an active bass? That could be another issue

I never understand the popularity of it either, but we do it as we got hassled into it, and frankly if we didn't do it the average audience would be very unhappy. I must admit to disliking the song quite a bit but just one of those things you have to do. And on the grand scheme of it, its not the worst thing on our setlist.

Yes, if you press and hold the switch (or external footswitch) it will hold whatever it is playing until you let go of the switch.

I gigged mine yesterday, and the day before. They were odd gigs and we didn't do our normal set list, so no poker face. But I used it, mainly for fattening the sound up. However, we did 20th Century boy (which was a surprise, we haven't done that for a good 20 gigs), So I thought as I didn't have the synths set for the start note like I used to a few years back when we did it all the time, and I had about 5 seconds of notice, the synth was set to a pad sound, I turned it up, played a higher E and then pressed the hold button to hold that E while I did the riff. It sort of worked. With a bit of notice and practice it could certainly work.

Nope. It is a proper synth arpegiator, so you trigger it with some notes and it does a pattern of notes with the synth, like any other synth would do. At no point does the SY-1 do anything with your guitar signal apart from use the pitch to set its oscilators, your signal goes straight through unchained (if you turn it up).