Al Krow

Our drummer had a Ford Focus Estate previously before it conked out. It was bloody marvellous for loading up a ton of gear.

This^^ I think comb filtering tends to be more of an issue with digital fx in parallel and less so with analogue, which typically have lower latency, so that might assist in identifying the culprit.

Sweet!

^^This. Still loving my VTDI - particularly having discovered the additional fuller low-end sound with the cab sim engaged. It can also deliver a whole range of tone shaping in particular both SVT and warm valve grit; must admit I've not heard anything on the Origin YT clips so far that would make me want to jump ship - particularly given the price jump from a readily available used VTDI to the new Origin alternative. Nice first impressions review, thanks! Wanted to pick up on one of your comments on your A/B - when making the comparison was the cab-sim engaged on the VTDI? Be quite interested in whether having a "lot more bottom end" will actually be a good thing or not in a band-mix?

Zoom multi-fx, Ashdown rig, Yammy BB 5 string. What's not to like?!

That's very interesting - the current series Yamaha passive PJs have gone for a volume blend knob rather than the 3 way switch which is on older models. How does having a switch deal with this "insertion loss" that a blend knob doesn't? It's not really a term I've seen used much on BC before - I guess I've always thought of it as being more simply as a phase cancellation.

Ah ok, gotcha.

Does that combination of pups and preamp get close to Wal sound? If so, that's definitely worth clocking!

Cheers. It's an interesting one as many of the Yammy BB owners on the mega-thread also swear by the P+J in combination. I guess the other way of thinking about fretmeister's point, that I have heard expressed very neatly, is that whenever you blend the neck and bridge pups it can lead to a mid-scoop, which can sound great solo'd but will likely cut through less in a band mix. However, I've not particularly noticed that with my blended Yamaha PJ settings, but that's maybe because they have such kick-ass bridge Js!! (Well certainly the BB 424/5 and BB 1024/5s).

Yamaha BB basses IMO have cracked the PJ bass format and their basses stack up really well against other basses costing several times as much. You'll find a LOT of love for them on one of the bass threads...

I've managed to use this in anger at a couple of full band rehearsals too now, and this thing is ACE!! Band were really liking it. too. For just playing actual notes + octave down to thicken out the sound: Vintage mode is rich and full and less "sterile" than Poly mode. But Poly mode works well if you want to include octave up, as the cleaner sound and better tracking in this mode prevents it becoming a sonic mush. Amazing value for such a well featured octave pedal! I think my personal octave journey is definitely hitting a pause and I'm looking forward to integrating my OC-5 into several set numbers.

Looking good! And if it's hitting the mark for you and the band then it's just the ticket: real life experience trumps pretty much everything else in my books! I presume you had to manually copy the B1-4 patches or could you transfer them electronically?

Aha, so it was working and all lit up but you didn't inhale. Now where did I hear a similar tale?

Ah that makes good sense. I only took up using a plectrum a few years back and it did take a little while getting used to it vs playing with fingers. Was kinda surprised to hear that none of the more experienced bass players in other bands that my bandmates play with, were using picks. I love the crispness of the attack a pic provides and it also combines really well with palm muting. Certainly wouldn't want it on every track though, but it's definitely nice to be able to include it in the mix.

It's a very good question! The fundamental of the octave below open E is around 20Hz which is not only below pretty much all cabs' stated frequency response ranges but also at the boundary of what we can actually hear. Interestingly the human ear is most sensitive to 2kHz to 5kHz frequencies and explains why guitarists only need a fraction of the wattage in their amps we bass players do. I think the key point is that what when we hear "a note" it's significantly more the first, second & higher harmonics we are hearing, rather than the fundamental. Applying an octave-down pedal emphasises these first, second & higher harmonics an octave below, but these are still within most cabs' frequency range capacity.

Love the tone on that thing!

Nice!! So is the current BB 734A effectively a PJ version of the BB 1500A?

It's a great bass. You may not find it too different from a BB 1024 if you want to save yourself a few quid. Come on then Mr T, what gem have you uncovered?!

Saying goodbye to compressor - Effects - Basschat You were saying? 😁

That was originally a significant part of the intention for starting this thread. But it's developed a bit of a life of its own!

That's a meaty bass, like it! I'm guessing that drums were purely acoustic and not mic'd on that recording?

That sounds fantastic, as I know you guys have a pretty big sound! I would love to come check it out, buddy - let me know the date of the April gig in Old Leigh and if I'm free I'll definitely come along. In the meantime, any clips of your band using it?

Oi!! So that's where it went! 😁

Pre Helix 3.15 software update comment about their synth sims (see Toby's post above). The B6 is a lot better laid out to work as a standalone board, the Stomp is great at the heart of a pedal board.

Oh wow! Your first Helix?