AinsleyWalker

The clean 'direct level' control on my OC2 is broken. It stopped working once before, then began working again, but now no longer works.
Turning the dial produces the odd bit of crackle.

If anyone has any advice let me know, thanks

[quote name='tonyxtiger' timestamp='1503752164' post='3360717']
The glou glou fx and chase bliss trem/vibes are all you would ever need but pretty spendy.
The new endangered audio research spectravibe will be awesome.
If it's just a good simple organic sounding vibe there will be cheaper options out there. These are just the ones I've known.
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Thanks for the suggestions! I was looking at the Chase Bliss Warped Vinyl yesterday. Looks great, just a bit out of my price range right now, especially as it isn't an essential for me.

I know the Boss VB-2 sounds good but I'm looking for alternatives.
Not a pedal type I have much experience with.
Anyone have any suggestions for me?

In a lot of modern hiphop/heavy electronic production the bass/sub are super bass-y and often 'slide' up to an octave/higher note in a run very quickly in a way that is not done by hand, it often sounds like a whammy could do if it was after some kind of octave pedal making the initial sub-tone.

I use an Octron and an OC2 in my chain and was wondering would placing a Bass Whammy after help me with this? Does anyone have any experience running a whammy after octavers? The whammy in my experience sounds very cheesy so I'm hoping not to invest in one to find it just sounds comical.

[quote name='pete.young' timestamp='1477469158' post='3162368']
Not any more. Acoustic guitars and keyboards are now in what used to be Chris Bryant's old shop on the corner, Electric guitars are in the shop which used to have the keyboards and basses are in the basement of the same shop.

This is IMHO a victory for Acoustic guitarists, who can now try instruments out without being blown away by loud electrics in the next bay.
[/quote]

Ah yeah, I went onto Denmark Street the other day while in London and realised it's changed, shame really I liked the old bass shop.

I bought a Darkglass Vintage Microtubes from [color=#5A5A5A][font=helvetica, arial, sans-serif][size=3][url="http://basschat.co.uk/user/8487-macieq/"]macieq[/url][/size][/font][/color][color=#5A5A5A][font=helvetica, arial, sans-serif][size=3] , dispatched very quickly from Poland to UK and was packaged very well. Trusted seller [/size][/font][/color]

[quote name='Grangur' timestamp='1477861137' post='3164926']
Here's [url="http://www.tonetechluthiersupplies.co.uk/summit-ergonomic-fret-cutter.html"]a link[/url] to the best on the market
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Well played.

I have a Boss ME-50B multi-fx I used to use before I got individual pedals and it had a defretter effect on it which was pretty decent.
I can't find any individual pedals out there that do this, does anyone know of anything?

Wunjo's is split into 3 shops? Guitar, bass and keyboard, all upstairs in different shops.

Has this pedal been sold?

Ah ok
Yeah, looks like this: https://cdn.shopify.com/s/files/1/0045/7952/products/unichorus_large.png?v=1448332337

Just to be clear, this is the older blue model? not the newer green one?

I currently use a Nordell Audio Powercore. It's silent, decent size, no issues, but it only has 7 standard power outputs which is limiting.

I'm potentially looking for something with more outputs, but a lot of power bricks look really ugly or are a bright colour.. I want something that is as close to plain-black as possible so it doesn't stand out.
Any suggestions?

[quote name='tonyquipment' timestamp='1470495766' post='3106400']
Taiwan ? Japan? Late 70s early 80s?
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Yeah looked into it and the one's with skirted knobs are Japan.

The old brown Boss CE-2B Bass Chorus came come with 1 of 2 different styles of knob (seen below)
Anyone know what the difference is? Location made? Year made?
Also anyone know where I may be able to find replacement knobs in the style of the first pic

Cheers for the suggestions guys! I will look into them.

Looking to get a set of decent over-ear headphones to use with my practice amp. Any make/model suggestions? Any price range, so I can scope what's out there whether it's too expensive or not.

With both octaves off and the direct level level up you should just hear clean tone, but instead I hear nothing. I have checked demos etc, so basically my OC-2 direct level isn't working and lets through no clean tone at all.

Anyone ever had this issue before? Would this be difficult to fix myself? Or does anyone know where I could get something like this sorted? Thanks.

I'm considering getting one or the other to replace my DD7.
Anyone have experience of either with bass? Or experience with both?

Some interesting conversations going on, I've found my current favourite use for my Graphic EQ pedal is as a high end clarity booster for when I'm creating 'prettier' lines higher up, especially when using delay and chorus. Just removes a bit of muddiness and is quicker than adjusting the EQ on the bass itself.

Boost 62, Cut 125 + 250 and 500, Boost 1k and 2k, Cut 4k. (all varying degrees of cut and boost to make smooth curves of course) Slight boost on the Level so that the overall volume doesn't change much.

[quote name='ProfFrink' timestamp='1460315442' post='3024620']
A. subbed.

B. I keep finding new uses for my Empress ParaEQ. E.g. boost mids and cut low/highs for better slap-tone, or just to get a more modern "cutting" sound, or to tune my fuzz (the big-miff in my MS-60B) to sound "just right", to dial out some low-end for a less resonating E-string (that's before I got my Broughton HLPF), etc. (Personally, I've always found parametric to beat graphic, but it's a matter of taste of course)
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Yeah, I was looking for a parametric bass eq actually, the Boss PQ-3B in particular I've heard good things about but they're quite pricey and hard to come by, and saw the GE-7B going cheap on Ebay so thought I'd give it a go. I can't compare it to any parametric EQs but it's a decent pedal, very responsive.

[quote name='DiMarco' timestamp='1460310162' post='3024572']
I used an MXR ten band EQ to boost 62.5hz a few dB but cut 31.25hz to the max when I was using 15" speakers. This way I kept stuff from resonating to any sub lows in the pub I was playing. Cutting mids seems nice solo but makes your tone drown in the total mix.
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Yeah good point, at the moment I'm just writing stuff on my own so perhaps best to try things out when I'm next in a band environment.

I've got an old Boss GE-7B that I have at the end of my chain for a slight mid cut/low end boost to round off the tone of my Stingray at times, but I was wondering what other applications it could be good for? Any suggestions?

[quote name='Grangur' timestamp='1458875001' post='3011795']
Fair point you make there. This juror totally accepts the defence plea.

In which case I'd say, if you like the bass for playing off stage for enjoyment and you'd prefer it another colour, why not go for it, or sell and buy another similar bass.
Something I find frustrating with MM Rays is that some many of them are I great finishes and look great, but I can't get to like that sound myself. But each to their own.

As others have said though, be prepared for a naf piece of wood if you do it.

Actually, I remember a member of this parish having a GW Ibanez in black. He stripped it and the wood was less then exciting. It had a big knott in the wood. He continued to enjoy the bass himself but when he came to sell it took forever to find a buyer.
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Yeah, I think I'm definitely against the idea of stripping it now. If I ruined it, it'd be a real shame.

I get what you mean about the stingray sound though, it's not for everyone. A lot of stingray players use too much treble in an attempt to try and cut through more but it just makes the bass 'clack'. I tend to roll the treble knob almost totally off if I'm playing something on the lower strings .
I've gotten used to it though and can get quite a good range of tones, including a fairly round sound but not [i]quite[/i] as warm as I'd ideally like. I like to write a lot of ambient/spacey melodies up the fretboard, so the clarity of the Ray's sound and the ability to really shape/scoop the high end is good for that.

I think really what I'll do is just keep my Ray as it is, I'm not in any bands currently so it's more than good enough for home use/practice. It'd also be a shame to get rid of it as it's my first high quality bass and I've had it a long time, plus what I'd get for it probably wouldn't make selling it worth while. As I said the chips are very minor, but will of course affect re-sale price.

So I think I'll keep it, and if at a later date I find myself in a situation where I can financially justify buying a Jazz for a specific application, I probably will.
Cheers

[quote name='Grangur' timestamp='1458804309' post='3010945']
I know I'm being a cynical old git here, but am I right here?
You're fed up with your old bass because you've managed to chip it 15 times when gigging. I you change your bass, how long before you're fed up of that because its chipped just like your Ray?
Have you sorted out how you handle the bass at gigs to avoid damage?
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Haha I can understand your viewpoint of this situation but that's not it. Let me explain. I bought the Ray for a very specific sound I wanted when I was 18, and five years later I prefer a rounder sound at times, that's all. So a Jazz Bass, for example, would suit my need for versatility. It's how I've felt for a fair portion of the time I've owned my Ray to be honest. To play standalone, Stingrays are probably my favourite bass tone, but in band situations they can be limited. My desire to change it isn't based on the chips, they just prevent me from actively seeking to sell it, the chips were done around 3 years ago and I haven't put any more in since then. They were done through just not using the hardcase in certain situations and it getting knocked while in a softer case. Oh, and I've gone off of sunburst a bit.