Al Krow

17 minutes ago, Woodinblack said:

That sounds fine for what it is, some extra effects, as long as you make sure the octaver never gets switched on!

 

A shame the octaver is so poor - given how good the Valeton OC10 was. But I guess that was an analogue version (rip-off?) of the Boss OC2 rather than being digital. Multi-fx always seem to struggle with pitch-shift, some doing it better than others, so I guess no real surprise?

@Jean-Luc Pickguard - I've got a fair few pedals I need to put up for sale at some point! A pretty mint Boss OC5 amongst them. Very happy to give you first dibs! 

34 minutes ago, carlsim said:

 

So, a very quick and rough bash with some recording. SRay5 straight into the GP-5, into my interface. Haven't set it up as an independent interface yet.

 

Bass mp3 file - 2 NAM files downloaded from Tone3000 - EBS Bass Rig first, GR Bass Cube second and then the standard finger bass preset the GP-5 comes with.

 

the rest should be as they are described. very much FX loaded as they come - very little faffing or editing (please excuse the playing) - will hopefully give you an idea. The only thing for me is controlling how much FX (chorus etc.) that you can add - no wet / dry mix level - or am I missing something here?? I would have liked a touch more chorus and phaser. But, I don't really need a phaser so it's a moot point for me!

 

Anyway... I hope this helps. It's a great little pedal - I only really intend to use it as a preamp / NAM loading pedal with maybe a smidge of chorus so will suit me perfectly!

 

Carl.

 

So the order is:

Bass with Chorus and reverb

Bass with chorus

Bass drive (preset)

Bass and octaver - probably it's weak point

Bass phaser

Bass slap (preset)

Bass NAM files and bass finger preset

 

 

Amazing thanks! Looking forward to having a listen, as I'm sure others are!

Exactly the sort of post that makes BC such a great forum - thanks Carl!

Have any of you GP-5 owners been able to record some of the fx and amp and cab sims to give us a sense of how decent the GP-5 is as a multi-fx?

Anything expected from Santa that's accidentally arrived early and turned out to be great?

Little end of year Dec bump, to see if we can get to discover a few more of our BC'er bands! 

4 hours ago, skidder652003 said:

Why is it always us who have to do the damn PA, lights, bookings and promo?

That's what I want to know!

Ok if you really want to know... maybe it's because:

(i) just being expected to play root notes with the occasional 5th thrown in, gives us the headspace to think about other things, like gear, and to spend hours discussing it on Bass Gearchat? 

(ii) if someone else did it instead of us, the rest of the band would almost certainly find a better bass player who had the time to put into practising (instead of doing the damn PA, lights, bookings and promo), and

(iii) the likely end result is that no-one in the band would have any gigs to play at!

...now can we get back to discussing DMX please? 😅

I'm also taking the PA gear as well as the lights so, as Phil has touched on, getting something that that I could transport easily and be quick to set up was a key consideration for my crew.

Back in 2018 we got a pair of basic Chauvet DJ bank bar lights and a Chauvet GigBar2 all coming to around £450, when there wasn't so much choice as now and figuring it all out as a newbie without the benefit of this thread! But the GigBar2's relative bulk for transport meant it was only getting used at functions and the Stairville CLB5 is much more compact for transport, although I'm sure that @Stub Mandrel is correct that you can set up t-bar stands for less with separate pars (don't forget something decent to transport them in to avoid damage), but in my case, and the other two band leaders who bought this unit for their bands, getting something that was "plug and play" and in a convenient bespoke case was definitely a key factor with our limited technical abilities! It complements our pair of DJ bank bar lights, which we now mount on our PA poles, to give us a modest but decent lighting set up for most of our gigs.

I pulled together a short video clip to review some of the already-provided settings to share with the band - setting 12 got their vote!

Stairville CLB5 - Selected light settings

https://www.thomann.co.uk/stairville_clb5_rgb_ww_compact_led_bar_5.htm?gad_source=1&gad_campaignid=1581403906&gclid=CjwKCAiA86_JBhAIEiwA4i9Ju5JFb0lrjHVlTSGWmXCQQTtHinkidF1OsFS-2tEHXrS0mzcRReylrBoCYFcQAvD_BwE

We've just invested in these lights, which are also being used by a couple of mates' bands, and all with a similar profile to yours in terms of venues/genres.

Decently portable and happy to recommend as providing a good starting point to build on.

8 hours ago, Sean said:

For context, last night I went to see my new band play their last gig with the outgoing bassist. No lights, no back drop. 

It's rock/pop/indie covers playing pubs/clubs/functions. 

 

I'm going to grab this as an opportunity but have no real experience, it's always been other people in all the other bands I've been in that do lights. 

 

So, where do I start? Plug and play,  portability compact being the priorities, I guess.

 

What's your budget?

Wow, I'm impressed at this zombie thread resurrection! 6 years have passed and the world has been through Covid and back!

Was a time I still used backline and had moved on from a fab little Alain Caron combo, still one of the very best ever combos IMHO,  to Barefaced cabs & DG amps. Gah...it's all FoH, digital desks and IEMs these days for me 😅

@Lozz196 you played a P-bass and got a "to-die for" tone from your rig and little Sansamp pedal if I remember correctly?

1 hour ago, Si600 said:

The stumbling block is more the 200€ for something I don't really *need* than whether it has an app for it. Tone Lab is a great little tool though.

It sure is. Doesn't work with B2-4 unfortunately?

1 hour ago, Si600 said:

Opening the heavily sealed door marked "GAS - do not open your wallet" would I benefit from a B2 Four to replace my B3n?  I have no problem with the B3n, and don't really need to change it, but you know how it goes.

 

Newer is obviously better, but is it really in this case?

I would have gladly traded up my B1-4, which has the same chip set as your B3n, for a B2-4.

But I keep come back to the editing software on the B2-4 only being for iOS and and not Android/PC. Why?!

1 hour ago, Rich said:

That's is appalling. A band should be like a marriage - if it's not working you end it. Not try out a side piece first"

Hmmm...not sure about the analogy?

Don't many of the 4/10 UK marriages that don't last, end precisely because one party tried a side piece first?! 

Besides open relationships seems to be much more of a thing with Gen Z - guess that's a bit like bandmates depping for other outfits? 

3 minutes ago, Phil Starr said:

Is this a bassist thing, carrying spare mics for the rest of the band

Haha no - it's was my mic for my occasional BVs and audience chat!

I just swapped mine with the lead singers - obvs for BVs the SM58 can sit lower in the mix than you would want your lead vox mic to be set at. As mentioned a little earlier in the thread, we measured the difference and the AKG D7S gave an additional 6dB headroom (in terms of desk settings at least) before feedback kicked in vs the SM58.

5 minutes ago, Beedster said:

Agreed, I've been in a lot of bands, and have fallen out with a lot of people in them - some of who I'm still great friends with and with who we still occasionally have a damn good laugh about it all, a couple of others I never spoke to again - and as the result have left a lot of bands over the years and also seen many others leave. But I've never been sacked and never sacked anyone, just seems an odd thing to do in a band....  

I think it depends on what the ambition for the band is, and also what stage of development it's at? If it's established and a purely "for fun" project then I agree, it should hopefully be relaxed e.g. my previous band which was a more "for fun" project and had a very stable line-up for it's final 6 years with no-one leaving. which was lovely. And when two key band members left back in 2022-23 (one emigrated, the other just felt it was getting too busy for him) it did lose quite a lot in terms of comradery.

My current crew is a more semi-pro outfit and I'm very conscious that gig fees are a significant source of income for several of my bandmates. We have a crew of 7 on rotation, going out as a 4 piece, so if particular individuals weren't willing to put in the time and effort to make it work then they'd be asked to leave 'cos it wouldn't be fair on the rest. I guess I'm lucky that, 4 years in, we've got a lovely bunch of musos and gigging/working with them is a lot of fun. We're defo still not 100% free from occasional band angst - but your point about being able to have a grown-up chat is 100% spot on. It's not something I've always got right in times past, but hopefully something I'm getting better at.

Just now, Phil Starr said:

 

Yeah, I think asking someone who has used the SM58 to change mics would be like asking Brian May to change guitars

I guess I'm fortunate with my lead vox then, haha!

The two of the three female lead singers who have been using SM58s were both completely sold on our live performance experience of Set 1 being plagued by feedback, and then Set 2 being feedback-free with just one change to the set up at the interval: swapping-out their SM58 for my AKG D7S!

8 minutes ago, Beedster said:

Most of which, among decent people, are the cue for a grown-up conversation and an amicable - or at least civil - parting of the ways, not a sacking. Perhaps it's semantics?

Yeah probably semantics? If someone's asked to leave a band against his or her wishes, by their bandmates that's a "sacking" in my books, even if it's done in a civil manner.

But, as you say, it really should start with a grown-up chat if at all possible.

11 minutes ago, Beedster said:

Sacking someone from an amateur band is bollocks, especially if done in an underhand way

Tbf bands, including amateur ones, sack band members all the time, right? Sometimes a band member just doesn't click, isn't cutting it or prepared to put in as much as other band mates to grow the project etc. There's a myriad of reasons.

But the point about treating people how you would want to be treated is absolutely the right one: pretty sure that A would hate the rest of the band treating him the way he's treating B?

6 minutes ago, dave_bass5 said:

Cheers Bas. Yeah, if only Mark Ronson didnt go and mess it up 🤣

Yeah, bands playing covers eh? Not sure the Zoutons are complaining too much about the royalty cheques they're getting each year, though?

4 hours ago, dave_bass5 said:

Had a fantastic gig last night. Small social club but it was packed. 
First set went well but no one dancing. Plenty of clapping though. 3 songs in to the second set, we played Valerie. Suddenly about 30 people started dancing, and they were up for the rest of the night. A good vibe on and off stage. 
 

Now the issue i had. We use an XR18 with an external 5Ghz router. It’s been fine up until the last two gigs. Mixing station on the iPad keeps freezing up, or rather lagging,  and it’s hit or miss if we can trust it. The iPad isn’t losing connection, and there wasn’t many WiFi connections showing up at this venue to be causing an obvious issue. My Drummer couldn’t even connect to the XR18 from his phone. The plan is now to use Ethernet from the iPad to the router. We will keep the WiFi going but i feel safer with a wired connection. 
The XR18 itself was fine, no drop outs etc. I’m tempted to also get a new router but I’ll try the cable first. 

Nice one Dave! Thank god for the Zoutons, eh?!

13 hours ago, krispn said:

 

I’d imagine it would translate quite well. I can hear a difference running just my amp versus running my pedal board into my amp. Same way my amp Di is adequate- I never use it but had to recently as my tube pre amp wasn’t giving any sound (turned out it was a simple fix but the amp DI did the job in a pinch). Did it sound ok for the gig yes but it’s wasn’t as enjoyable a sound. I could defo he’s the difference in my IEM’s 

This same question gets asked a lot on forums and there’s been some great demos showing how a pedal can sound like another pedal but I believe Origin are going for more of an experience in both feel and tone. It might not be important to folk for a pedal to feel like an amp if it’s nearly £500 but it’s exciting that we have a recreation of a classic amp that folks are describing as nailing the tone and feel. 
 

Does a 5k bass vintage bass sound better than a £400 bass? Does it feel better to play versus the £400 bass? Not everyone cares for these things but it’s nice when we can feel and hear a difference and that can push something form desirable to must have fall

in love at the first play. 
 

If a £99 pedal can do 80% great but some players live for the last 20% because that’s where the inspiration lives. 

Very nicely put Gav!  Particularly like that final para, albeit the VTDI is £250 not £99, but that's splitting hairs on the philosophical point. Hope you manage to land one used in due course.

I didn't come across the Stone Roses until a few years back. Instantly fell in love with their sound and Mani's awesome bass lines!

RIP - you've gone too soon, but as a musician you achieved so much.

6 hours ago, LukeFRC said:

The bassrig stuff is modelling the preamp, poweramp, reactive load and cab sim that’s been tuned to match the original cab - it’s going to do one thing but it’s going to do it really really well.

the VTDI is a preamp with a simple cab sim at the end, I don’t know how complex it it is shape wise. Where I’ve seen an electrical examination of the VTDI the character knob is a variable eq curve that can dial in a more driven sound, or dial it out (b15 a like)

It’s a great pedal big “I want a B15 sound in a pedal” investigations don’t often mention the VTDI as an option. I think they sit in different categories, an Ampeg sgt would be a closer alternative- or if you really were after two bass amps on a budget the tonex one would probably do it digitally. Origin aren’t doing it in digital, are U.K. made and are aiming at a level of “let’s engineer this thing well” where price point and value for money aren’t their primary driver of what they are doing. 

6 hours ago, krispn said:

Yeah I think the origin stuff isn’t a ‘like for like’ comparison to the other gear out there claiming to do a similar thing. While the question will always be does it sound like… many of these boutique businesses (such as Wren and Cuff with their era correct Muff recreations) it will sound like the particular amp or pedal they have access to which might sound different form your pedal or amp from the same era. 

What Origin are doing is pretty cool and gonna make a lot of people happy who want the sound and ‘feel’ of those classic amps recreated as closely as possible in a compact form. 

Will my tube preamp set to sound like a B15 with eq tweaks sound like the Fifteen? No but it may sound close enough or closer than some other B15 recreations, it may sound good enough but I’ve never played a B15 to compare. 

Im gonna try and pick one up (mostly if a used one comes up) as I think the sound and way people are describing the feel would be the perfect direct to PA for the always on tone and with a simple twist of a knob it would provide the gritty tones I sounds get with other pedals. 

If anyone’s sending one back let me know if you’d be up for some trade and Px discussion I’ve got some gear I’d be up for discussing 😀

2 hours ago, spyder said:

"What Origin are doing is pretty cool and gonna make a lot of people happy who want the sound and ‘feel’ of those classic amps recreated as closely as possible in a compact form."

Summed up perfectly. It's all about the feel.

All good / valid points gents!

Genuine real-world question: how much of the sound and feel is going to be preserved (or lost!) depending on the amp & cab or FoH set-up that you are going through when playing live with a band? What is going to be a "necessary minimum" quality set-up to hear the lush tones this is producing in a live band mix?

50 minutes ago, ra0ulduke said:

 

This is a very old debate that I always find a bit tedious. Some people are only concerned with pure functionality, and yes, the VTDI is perfectly adequate for that, because you can't hear the difference in a live situation anyway. Others (myself included) want that little bit extra, that look and feel. That's not rational, but it's fun. I, for example, find the VTDI very ugly, so I use other preamps. Both approaches are fine.

Sure, but it can also be a question of cost and value for money as well as how pretty the pedals look?

For some folk spending £900 on two pedals, whose job can be done by just one other which is well regarded and well established, for a fraction of the price, is also not going to be rational or potentually indeed affordable. So whilst the discussion may be tedious to some, it can also provide useful information to others?