bnt

Dust In The Wind - Kansas

Home Nucleonics - Strapping Young Lad

No Milk Today - Herman’s Hermits

Oh, I agree, like ToneX didn’t have modulation effects until recently. It’s all DSP programming.

I had a look at the block list … a Flanger, but no Phaser?!? For shame! 😳

Funny that we're on an Octaver kick, since I just got a Boss OC-5. I already have a MXR BOD, but I have two boards now and I wanted something with a nice octave up. In Vintage mode it gives me a digital octave up and a OC-2 style analog octave down. I watched a few videos before buying, but I'm discovering that even just a little of the +1 fattens the tone considerably, which I like and wasn't expecting. Still learning. The other pedal I got at the same time was a Landlord FX Cheeky Pint compressor, which I'm still dialling in a bit. Super cheap but seems solid enough. At the highest volume & compression, I seem to be clipping it a little if I play hard. By comparison, my Orange Kongpressor can take 12V and runs on 18V internally ... but cost me 5x as much.

Red Right Returning - Michael Manring https://youtu.be/ZyCykngB7Q8

Shock To The System - Yes

Glass Onion - The Beatles

Bus Stop - Tin Machine

That's a mixer, not a splitter = only the last part of the chain. It doesn't take standard pedal power, so it would be awkward to put on a pedalboard. I didn't know about the Joyo Orthros before, that looks pretty decent - especially for the price. It doesn't have a crossover, though, so you would need to use EQ on the pedals in the loops.

Living In Another World - Talk Talk

The Onward is definitely a trip. It takes a bit of attention to make it sound musical. If I try and do a progression, I have to be careful to play clean, since it can detect a change you didn’t intend and then loop the silence! It always sounds interesting, especially with a suitable amount of Error glitchiness, which is why I want to tweak that on the fly with the expression pedal.

Looks like my Big Board is turning in to an ambient / looping kind of system, with a couple of recent additions and the return of some old favourites: Peterson StroboStomp Mini Orange Kongpressor Mosky Silver Horse "Klone", usually in Golden Horse mode (low gain boost / OD) MXR Bass Octave Deluxe. It has both Growl and Girth. T-Rex Diva Drive. Tube Screamer with a Mix control, basically. I pulled it out again the other night and it sounded better than I remembered. IK Multimedia TONEX ONE. Doesn't have a fixed role. For straight bass, all I would need is The Fridge (SVT amp/cab), but it's a Swiss Army Knife that can do all sorts. I might add a Preset that uses stereo delay and/or reverb, for example. All stereo from here on: Boss MD-200: all the modulations. Chase Bliss Onward: I talked about this in the Mystery Box thread. I need to put a right-angle plug on the expression pedal I have to control the Error levels. Mooer GL100 looper, just arrived a few days ago. Still learning how to use it. It includes a basic drum presets that work in time with your loops. It can hold & play back pre-made loops too, or will once the app for that arrives. One annoyance: it has a headphone out but no volume control for it. Not a problem live in to a DI, but for practice I have: t.mix MicroMix 2. Has Bluetooth playback for practicing. I'm fairly sure that I probably have "too many" pedals at this point, and my Small Board has a couple of new additions for another post.

I just got one of these Landlord "A Cheeky Pint" compressors to try it on my "small board" and so far I quite like it. It's not transparent like e.g. my Orange Kongpressor can be: the Tone control is boosting frequencies, but I like the result with the EQ at around 9-o'clock in "Half Pint" mode. On the "Full Pint" mode I think the EQ is a bit too aggressive and it loses a little low end, so I would only recommend the "Half Pint" mode for bass.

Right - the Sub-Atomic is a pedal version of that, a bit cheaper and not quite as flexible in routing, but with switches.

Running Free - Iron Maiden

Here Come The Bastards - Primus

Hair - The Cowsills (from the musical of the same name)

Flow My Tears - Stuart Hamm

Starman - David Bowie

I have looked at the BTB before - but I forgot to mention that I’m also keeping an eye on weight! (Picky, I know.)

There's obvious variation between basses, and we're not going to tell pros like John Myung, Will Lee or Tony Levin that they're wrong for sticking to 34" scales on their basses. In my case, I have been thinking about multiscale in some form for literally decades, mentally chasing a "piano string" low B that has eluded me. I've owned only one 5-string, and was never happy with its low B. The fundamental B just didn't "speak" and I knew I was hearing more overtones than fundamental. I even went High C, eventually, before getting rid of it and using 4-strings for over a decade now. I'm not a professional musician, however, and can't justify the expense of a Dingwall even if I liked they way they look, which I don't. Spector's recent NS Dimension MS 5 is more my style, and I may end up geting one. (Neck-through is another selling point for me.) I do want that 36" or 37" low B, but on a budget, and none of the current lower cost mutiscales offer that. I'm not in a rush to buy anything, but that's where my head is at. There are Steinway concert grand pianos where I work, and when I go to one and hit a low B ... that's what I want!

To me it’s about the relationship between length, string gauge, and tension. If you look at the tensions on a standard set of bass strings, the higher strings always have higher tension. If you want even tensions, what do you do? make the higher strings thinner? Then they will sound thinner. That might be OK depending on your preferences. make the lower strings fatter? That’s what some do e.g. D’Addario make a few “BT” balanced tension sets, but the only only that actually comes close (according to their tension numbers) is the EXL160BT set at 50-120. I have one of those sets but haven’t left it on, since it only makes sense to me for dropped tunings. Maybe if I had a proper P-Bass with a baseball bat neck. multi-scale. It seems a more natural solution to me if you look at how e.g. a piano is constructed. A harp is also multiscale.

Has anyone here tried one of these yet? According to Nate Navarro, the company saw his demo of the Lizard Queen with a separate blend pedal, and realized they needed to make a bass-specific version with blend.