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worship_mud

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About worship_mud

  • Birthday 15/06/1971

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  1. i get your point. but i just got the nate mendel a few weeks back and due to lockdown and moving restrictions here in slovenia i didn't have a single band practice with the new bass. up until now i used my JB with john east preamp, active, and i prefer the P a lot when the focus is on heavier sounds, but haven't had one for a while. i like the NM a lot, but i actually have no idea how it sounds in band context except for jamming along trashy mobile phone recordings from last practice... so, maybe i'm looking for a solution for a problem that does not exist...
  2. oh man, you just FULL ON hit the third thinking point i have in this whole game... i L O V E the diamond and it is a great , great compressor. and i love that it's not neutral, but does some add magic sound magic. it goes so far, that i thought about selling this one and get the new smaller one. B U T those becos' are also super super tempting, freeing up board space in case. the mini looks super promising, though as i read very neutral, which would make the stella even more tempting due to it's tilt EQ and the saturation thingy. that would be functionally similar to the sound shaping the diamond has, while being a bit more flexible. and still freeing up space on the board. but the main focus at the moment is the distortion. but yeah, becos...
  3. thanks, man! i also like the whole set-up alot. the head fits into the mono gigbag's out pocket and w/ the tick for the pedalboard it's easy to move around. fantastic sound and loud AF. and the NM is also a winner, hot looking, good sounding, super comfy. just to clear up my reasoning behind the pedal chain: in the pic it's in the wrong order, as i just got those really, really great EBS patch cables to make room to add the tuner (the band is Eb as mentioned above) and i just plugged it together and it came out in the wrong order. but instead of re-arranging stuff, it was "but let me take a selfie, first". sorry for that the correct actual order would be tuner - OCT - env filter - OD - comp both the VMT and the diamond are used as toneshapers in an "EQ-ish" sense, rather then OD or comp respectively. the VMT is a "tube sim" and the diamond is a magic sound wand making everything sound sweet as molasses. the ratio is below half (that would be below 2:1 if i'm not mistaken) and i use the tilt EQ like a TONE knob on the bass (in a sense). the VMT is the "SVT" in a box, drive below half and mix slighly past 12.00. i don't use them together, so they are actually interchangeable in their position. and that's also the reason they are at the end of the pedalboard. the EQ on the amp is everything at noon / zero, the soundshaping is done on the board. i kind of have a two channel set up, and want to expand it into a three channel kind of thingy, actually. edit, for the sake of clarity: the diamond has of course a certain "limiter" function on the octaver, but the main reason it's always on is def. soundshaping
  4. i'd like to keep the comp behind the oct to tame the levels going into the amp. and the octaver before the OD to get OD'ed octaver sounds, to fatten stuff up, when needed (which is rare with two guitars in the band, but it does happen)
  5. it doesn't offer the clanky full on distortion the B3k delivers (at least as far as i can hear on all those YT reviews and tests on the B3K) i understand the concept of mixing a clean part of the sound to the distorted part, gaining clarity and attack in the process. dialing back the distorted sound in the mix makes the whole sound losing the aggression i am aiming for, that's why the mix knob on the VMT is dialled rather far into the distorted part. the middle position of the tone gives me the right amount of "body" to the sound, going further CW does add some aggression, but the fulness gets lost, i guess the scopeing of the tone knob is then too much that's also the reason i was thinking about a clean boost. if i push the VMT with a fully distorted sound i presume that i would lose the bottom of my sound (i presume because i haven't had the opportunity to try that out) two guitars on 50W tube amps, one on a strat, the other one on a gretsch something (no idea) so mostly singlecoils, with a rather clear albeit distorted sound bass is a nate mendel P, with a puma 900 and a BF supercompact, strings are 1 month old d'addario nickel rounds, the band is tuned to Eb
  6. Hi there guys, i need some advice... i started playing in a alternative rockband, rather slowish, heavy-ish, heavy riffs etc, now, trying to get a an appropriate sound i use my DG Vintage Microtubes, but, alas, while it has a solid OD sound and decently does replicate a growling tube amp, it does not do the really heavy stuff. i'd like leave the VMT always on to "simulate" a tube amp at the verge of breaking up and adding a distortion pedal in front of it, something like the xotic bb or the DG B3K and but i fear that this might mud the sound to a rhythmical hissing without definition. my other thought was to add a preamp / clean boost in front of the VMT, but then i guess i can forget about unity gain if use it to push the VMT to more OD / distortion I'm not too experienced in setting up and getting decent heavy distorted / driven sounds, so any advice would help P.S.: another limiting factor would be, that i use a PT nano board and i don't want to switch to a larger board. the nano is set up like this at the moment: Korg tuner ->MXR envelope filter -> MXR octaver -> VMT -> Diamond compressor i'd love to keep the comp on the board to have a "clean clean" sound and to limit the octaver to a certain degree, but am willing to kick it off the board, same with the envelope filter, which i initially thought would have to make room for the distortion pedal anyway.
  7. This post cannot be displayed because it is in a forum which requires at least 1 post to view.
  8. Muamer is a top guy to deal with, very easy to communicate with, super reliable! woud do business again, no problem!
  9. john has already done several looms for different basses of mine. he has extensive knowledge of what he does and he does it excellently! it's always a pleasure to deal with him, he's never let me down or disappointed me in any way. good guy....
  10. it's of course possible to remove the damper, but as it is let into the surface, it would not look too pretty and would be beside the point of this bass....
  11. bump! i have offers for a sale, but i'd really rather trade for another bass, so if you are interested in tradeing basses just PM me
  12. [size=4]youtube is telling me, that because of copyright issues the content [color=#333333]might be unavailable on some devices... sorry.[/color][/size]
  13. yeah, it really is a great bass, it's just that the neck is too wide for my tiny trump-like hands (whiich, btw says NOTHING AT ALL about the size of my d*ck... ) here's a video of a friend of mine playing it, recorded via DI, EQ flat, minimal compression [url="https://www.youtube.com/watch?v=dVet9_1OA00"]https://www.youtube....h?v=dVet9_1OA00[/url]
  14. I'm tradeing my Fender Custom Shop 2015 Sean Hurley Precision Bass incl case and certifacts for a comparable Jazzbass (Fender Custom Shop or something along these lines like Lakland, Sadowsky, Nash etc) or cheaper instruments with cash compensation. also i'm not fixated on Jazz basses, show me what you have, maybe we'll strike a deal... the price / trade value is 2200,- € incl. shipping to mainlaind EU (the 1900 GBP mentioned in the thread title are only an approximate price) the bass is in overall good condition, mildly aged, but is nitrolaquered, so it has it's dings and scratches. for more pictures please contact me via PM.
  15. selling / trading my Lakland 55-94, if you're interested! PM'ed [url="http://basschat.co.uk/user/33757-worship-mud/"]http://basschat.co.uk/topic/283608-fsft-lakland-55-94-usa/page__p__3033423#entry3033423[/url]
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