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  • Location
    The Shire

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  1. Zoom B1on - quality effects? Alternatives?

    My issue with the Aguilar TLC was it's apparent inability to control dynamics. No matter what I did it just didn't give me the subtle compression that I want. Admittedly I didn't try it in a band situation, but being a devout compressor user for many years, I have my ear attuned to the sound that I want and works in a band situation but was unable to get anywhere close to that with the TLC. It was just bland and lifeless, no dynamic control, no punch, not even any likeable tonal colouration - although it claims transparency so that is hardly surprising. The EBS was subtle but at least it did have a degree of dynamic control, albeit one that wasn't for me. All IMO, IME etc etc. Which compression models were you using on the B3n? In what regard did they not meet your needs? I'd argue the opposite, that in a band context compression is more obvious on the bass in so far as it smooths out the peaks and makes the bass more consistent across all the strings and allows it to sit better in the mix, with the caveat that you've set it up properly and don't have any radical eq settings. There are many people who don't like compression but I think this is because it is widely misunderstood, they are expecting it to be an obvious effect like the ones you listed above so they set it up so they can hear an obvious difference. By that time you have squashed the bass tone to within an inch of its life and are left with an unusable bass sound. Less is more with compression. Set it up with the band playing behind you to optimise your settings and it brings the bass to life, IMO.
  2. Zoom B1on - quality effects? Alternatives?

    @ped, am I right in thinking you're a slapper (insert innuendo here)? In which case a limiter is likely to be the more obvious choice. For my heavy handed finger-style compression is my preferred choice.
  3. Zoom B1on - quality effects? Alternatives?

    I've not had this issue myself but I can fully understand how it can easily happen. Just a though, there is a setting somewhere for auto saving any changes you make on the fly, I'm wondering if this is turned off so that when you change patches the unit recalls the last save where a particular effect was turned off instead of the last time you actually used it with the effect in question turned on, if that makes sense? Might be worth a look if only to rule it out as a possibility?
  4. Zoom B1on - quality effects? Alternatives?

    Yes, it can be done easily. See page 10 of the manual. Hope this helps
  5. Zoom B1on - quality effects? Alternatives?

    I didn't know that there were different versions of the EBS pedal, but looking online there does appear to be at least 2 different models. The one I borrowed was the one with the blue stripe graphics like this one, (not the black wiggly line through the blue box like the other one) which is presumably the older of the 2? I tried all of the different modes on the EBS with a variety of active and passive basses and spent an hour or more fiddling about with the internal trim pots. I just couldn't get a sound out of it that I liked - I like subtle compression but the EBS was too subtle for me and didn't have the punch or dynamic control that I like.
  6. Zoom B1on - quality effects? Alternatives?

    I don't have the B1on but I do have a Zoom MS-60B that I gig with when there isn't room for my full size (but sparsely populated) pedal board. My understanding is that both units share many of the same effect models - a quick glance at the B10n effects list on line suggests that that is the case. When I gig with it I only use the tuner and compressors, my favourite being the M-Comp model. I personally rate it very highly, it gives me a great punchy tone and keeps any signal spikes in check when gigging which is exactly what I'm after. It helps the bass sit perfectly in the mix too. I've got no idea which compressor the M-Comp is modelled on but going from the icon on the Zoom interface I'm guessing it's the EBS Multi-comp. Someone mentioned earlier that the Zoom doesn't compete with the EBS but my experience was the opposite - I borrowed a friends EBS Multi-comp and couldn't get on with it, it didn't give me the punch or dynamic control that I want from a compressor. I much prefer the M-Comp on the Zoom - assuming that it is actually modelled after the EBS, that is. I have a TCE Spectracomp on my gigging board and I do prefer it to the Zoom compressors, but once the rest of the band fires up (mixture of pop and rock covers with guitar, drums, keys) any subtleties that may be noticeable when it's just the bass playing in isolation are immediately lost. So in that respect, the Zooms offer a massive amount of value considering their cost and is a perfectly viable gigging option. I also have a B3 hooked up to my little practice amp in the house and have got some great results with the other compression models too. The only one that I'm not too enamoured with is the Dual Comp which has too much of a mid scooped sound for my tastes, but I imagine it would be great for slapping although it's not something that I have actually tried! What are your thoughts on the Fishman Pro Platinum EQ? It looks a great bit of kit. My band has been talking over going over to in ear monitoring and if we ever make the move I'm tempted to give the Fishman a try as it has everything I want in one box.
  7. Yeah, those triplets in the middle section still keep me awake at night, I just can't seem to count in 3's
  8. How about having a go at this classic I've only ever seen 2 pub bands pull it off (admittedly I was in one of them ) and it's a good bass work out as well as a favourite with the crowd who don't usually expect to hear it.
  9. R.I.P Fast Eddie

    Hadn't heard about this until just now. Fastway were the first proper band I saw when they supported AC/DC on the Fly on the Wall tour, back in '86 (I think?).
  10. Sound levels with multiple basses live

    How about a multi-fx unit? You could set up a patch for each bass, even if it's just a flat eq and/or some compression, and balance the volume for each patch so when you change basses you just stomp the appropriate footswitch and you're done. Obviously you don't need to use all the other bells and whistles but they are there should you ever get the urge! The highly regarded Zoom B3 would be the obvious choice and used ones are currently changing hands for well under £100.
  11. GAS Reaction

    I'm not quite sharp enough to resize it, but I like this one;
  12. New Combo Day - Trace Elliot Content

    I had a GP12 SMX back in the day (which I grew to utterly despise but that's a whole separate topic ) which had the 'traffic light' input indicator lights on the input gain. The manual (which I may even have buried away somewhere) suggested that you turn the input gain until the red light clips then just back it off a touch until the amber light is on on for most of the time while you play with the red light just flashing occasionally. Probably something to do with signal to noise ratio or something, no doubt someone who understands these things far more than I do can explain? Anyway, looking at the pics, yours doesn't have the traffic lights but it does make me think that Trace wanted you to run the input gain as high as you can. At least on some of their other models. Does that help?
  13. Gold hardware - Is it me??

    I personally think gold hardware makes an instrument look tacky. But then again I think gold jewellery looks tacky too . I've seen some cracking natural wood finished basses over the years that have gold hardware fitted and it just cheapens the appearance, IMO. For my tastes black hardware is the best choice for natural wood finishes.
  14. Led Zep heartbreaker sound

    The TC Electronics MojoMojo at lower gain does a great vintage mid rich drive sound that will give you a similar vintage driven bass tone (without the wobble) and can also be picked up for less than £50 new. Might be worth a look if you don't fancy lugging about a monster all valve amp. I hadn't thought of a Leslie speaker, but now it's been mentioned it's so obvious