Osiris

Thanks @LukeFRC that's really helpful. It sounds like the bass boost could be an issue as it wouldn't work as an always on pedal with out set. I was able to directly compare the Mk2 to the Mk5 yesterday too and while the Mk5 is way more flexible and doesn't have the inherent deeper and darker tone of the Mk2 (unless you dial it in!) I personally preferred the smoothness of the drive from the Mk2. That's not to say the Mk5 is grainy, if that makes sense, but the Mk2 just had what I was looking for, albeit without the exaggerated lows. And thanks for the recommendation of the Fairfield Barbershop, I shall investigate...

Yes, been using one for a few years, it's 90% of what I'm looking for but a little bit grainy with IEM's, so looking for something with a bit of a smoother drive sound.

Today I had the chance to play through a SolidGoldFX Beta MkII as well as make a direct comparison to the new Beta MkV. While the MkV is the more versatile of the two I preferred the drive character of the MkII, especially in preamp mode with the gain pushed which introduced just enough break up to really bring the bass tone alive. Now, the MkII has a reputation for being dark and boosting the low end, although I didn't get to try it a really loud volume so I couldn't decide if it was a bass boost as such or more of a roll off of the higher frequencies giving the impression of a low end boost. So my question is, has anyone used them in a band/gigging situation, and, what were the results? For example, at gig volume does it add a load of extra bass that affects the mix and causes a load of stage resonance? Or is it more of an attenuation of the high end that leaves the lows largely intact? For context, I'm not looking for an always on sound but something to kick in for a few songs so the sound needs to work alongside my clean tone, so while a darker tone is fine, I'm not looking for a big boost to the low frequencies, more of a tonal fattening with some saturation type thing.

Francine, you're absolutely right, they are absolutely sublime basses. Neither elegant nor refined but the character they exude from that combination of neck profile and the awesome pickup is perfect and then some. I awarded you a thanks TLRT thingy for your opening post but you also deserve a vomiting one for desecrating such a glorious instrument with not one but a pair of tort scratch plates. You should feel dirty and ashamed 🤢🤮

Just received a pedal from Chris and it was a quick and easy, hassle free purchase. The pedal was immaculate and well packaged too

It may have been 13 years since his last transaction on Basschat but Andy is still a true gent to deal with! He messaged me about a pedal I had listed and the whole transaction was over quickly, efficiently and with no drama or fuss. He paid instantly and communication was fast and friendly. But Cheers Andy, enjoy the pedal!

Have you tried using the boost control on channel A to match the level of channel B? Then using the master volume to control the output level of both.

The release won't have much affect on the transient of the note, it's the attack speed you need to control.

A compressor with a slow attack time can help to accentuate the attack on the leading edge of the note, it might be worth experimenting with one if you have a compressor laying around, especially an optical based circuit as they tend to have inherently slower attack times than some other designs which allows the initial transient through while keeping the body of the note in check.

I've played short scales exclusively for a few years now and have always strung them with long scale strings, mostly because I bought a job lot of strings when they were on offer years ago so I have a surplus to get through! I've never had any problems with using long scale strings on short scale basses, yes you end up with an extra turn around the machine head post and the E sting can sometimes look a bit dodgy as you usually end up with some of the fat part of the string wrapped around the post, but honestly it's never been a problem, IME. That's 6 or 7 different basses with maybe a couple of string changes each. Never had a string snap or any intonation issues either.

Lustihand look to have updated their highly regarded Alma compressor to a new version - Alma Comp. MKII - Lusithand Devices @Ander87 very generously let me have a play with his mark 1 version a few weeks ago and it was a brilliant little compressor, and I say that as someone who doesn't usually like optical compressors So assuming the new version does all of that and more it'll no do prove to be popular.

Come on Dad, don't ever mention the C word around Al Krow... ...that way madness lies.

Met with Frank this morning, I've lost count of how many times that's been now, but as with all previous encounters it was easy and hassle free. He turns up where and when he says he will, spouts a load of guff for a few minutes and then disappears in a cloud of his own gasses. What's not to like, other than the vapours when meeting him in an enclosed space?

Twas a pleasure, young Francine, as always 😍

Just received a pedal from James and it was a perfect transaction from start to finish - fast and friendly comms, it was securely packed up and ready to post minutes after I'd paid and tracking details were passed on minutes later. Cheers James

I've used mine through a few different cabs and all have sounded great in their own way. At first I was using a Tecamp 2x12 which is a very clean cab with an even response across the frequency range, with that cab I found that a little bit of contour B (the mid bump one with the orange LED) dialled in with an otherwise flat~ish EQ produced a big punchy sound that worked brilliantly in a band situation with guitar and keys. More recently I've been using it with a Barefaced Two10 which is a very coloured cab and has an inherent low mid bump baked it, think more an old school Ampeg kind of vibe. At first I didn't care for the pairing but after using them together for a while and figuring out how to get the best from them by requiring a slightly more heavy handed use of the EQ than with the Tecamp, I now think they're an awesome match. You just need to reign in that low mid bump with the semi-parametric EQ a bit, IMO, but the rig will punch for days and is laughably loud for it's teeny weeny size.

Some interesting thoughts there, especially considering you're one of the more knowledgeable guys about this sort of thing on the forum. For me, and what I think the OP is alluding to, a clean sound is one that doesn't have any drive or distortion, regardless of any inherent EQ or voicing from the preamp. Whereas your definition of clean is what I think of as FRFR. This could all be inaccurate from a technical perspective but it's what I assume is meant when talking about a clean bass tone with other bass players and other musicians.

The Genzler Magellan does crystal clean sounds and has an extremely versatile EQ that will let you dial in pretty much every clean sound you're ever likely to need. It has a big weighty tone too. The 800 watt model has a drive channel but it's a lower gain valve emulation rather than a scoopy clanky modern metal thing. The 350 watt model is a single channel clean amp and is more than loud enough to gig with. Not cheap but you definitely get what you pay for!

The user manual for the Keeley says that the Gain control is for adjusting the output volume to make up for any volume drop as a result of the compression. I'd paste in the definition but my crappy little tablet won't allow me to copy the appropriate text for whatever reason 🙄 so here's a link to the manual for anyone interested - https://robertkeeley.com/woo/wp-content/uploads/2014/10/GC2BassistManual.pdf As I understand it there are 2 different types of gain control, some compressors use one type whereas other designs use the other. The first, like the Keeley has what is often called make-up gain. It's used to boost the compressed signal back up to unity i.e. the same volume as when the pedal is bypassed. So to answer what @Rodders is asking, set the threshold and ratio to how you want them, then use the Gain control to adjust the output volume to the same level as when the pedal is on or off. You can also use it as a boost too but you'll likely raise the background noise level by doing this. The other type of gain control is like @ped says, where it controls the level of the input signal against a fixed threshold, I seem to think that 1176 designs use this type of gain design. I could be wrong on all of this but that's how I understand they work and differ in their designs.

You're welcome The above are just my opinions as I remember them a few years down the line, but Fender have notoriously variable quality control, so what we experienced with the models we in our hands had may not apply to every model out there. @Adee may be able to add his own thoughts and recollections to that day way back when. But the one thing I do recall is that I was so impressed with Adees' JMJ that I bought my own a couple of weeks later!

I stand corrected, you're right, the Keeley does go to infinity to 1

Myself and the lovely @Adee compared a few Mustang variants 3 or 4 years ago, I did write a detailed post summarising my thoughts at the time but I can't seem to find it now, but as I recall the edited highlights were, IMO; Mexican PJ, decent little bass and has those classic Fender sounds. No frills build quality but solid enough in its own right. Slim jazz like neck profile. Limited sounds from the 3 way selector switch but a blend pot mod really opens up the flexibility for only a few £. American Performer, feels better quality in terms of construction, hardware and finish compared to the Mexican but tonally very bland, the Mex had way much more inherent character in its sound. This just sounded like a bass, any bass but with no real personality of its own. At the time I think it was nearly 3 times the cost of the Mexican but not worth it, IMO. Same slim neck profile as the Mexican. JMJ - the king of the hill by a mile. It simply oozes character with its big powerful tone and chunky but comfortable neck. The fake roadworn look is a bit naff and not particularly well done, certainly when compared to something like a Sandberg relic job, but once you plug it in and play it you can forgive the aesthetics. It sounds a feels like a Precision, only smaller and easier to play. Oh, and stick some rounds on it, forget flats! Vintera - we didn't have one to try but I have played one in a shop before and I have no real feelings about it either way, I don't remember anything astounding or underwhelming about it. Squire VM - felt like a cheap option, which it is! Not a bad bass for the money and potentially a reasonable platform to mod to your own preferences. So, IMO, if you like Precisions and a big grin inducing tone, the JMJ is without doubt the one to go for. At the time we compared them the American was way more expensive than the Mexican (£1000 vs £400 at the time, I think?) but I prefered the tone of the cheaper Mexican. The American one felt nice, but not £600+ nicer. The Vintera is a decent enough bass but if you're looking to spend that sort of money, spend a little more and get a JMJ.

When done right compression really helps bring your bass to life in the mix and adds an extra dimension to the sound, it's hard to quantify but you'll know it when you hear it. And at the risk of sounding like a broken record, you really need to understand compression to get the best from it, what each control does, how they interact with one another and so on. But once you get it, there's no looking back! You and I have locked horns over this subject in the past, and I'm not looking for handbags at dawn again but... The above is not strictly true. Technically speaking, limiting is when you use a ratio of infinity to one, where everything that crosses the threshold is flatlined, it does not increase in volume proportional to the ratio. You can still compress using the above scenario whereby the peaks that cross the threshold are compressed in proportion to the ratio e.g. a 2 dB spike over the threshold only increases by 1 dB using a ratio of 2:1, or an increase of 0.5 dB with a 4:1 ratio, and so on. The Keeley, IIRC, has a maximum ratio of 10:1 so not technically a true limiter in that regard depending on how pedantic one wishes to be, as there would still be a small volume increase above the threshold.

Dual lock is also available in a low profile version, I have some and with both sides joined together it's only a couple of mm deep, pedals certainly feel more stable than with traditional, thicker velcro. As others have said it's very strong if a little pricey.