jposega

The CS12 is longer end to end, but shorter top to bottom. It would likely fit on the Metro if its sat like this || and the board is like this ==. Does that make sense? I bought my IsoBrick on Reverb brand new and MXR honored the limited warranty, so that was good, but their CS was just crap. If they would have just told me they were going to mail me a brand new one, I would have asked them to send me the money for one so I could order it and would have gotten it in a weeks time. If you're going to use the variable outlets on the IsoBrick, make sure you set them using a multimeter, because there is slight deviance between actual voltage and the markings on the case. Once it's set, you can stick some tape over the dials or if you never plan on changing them, hit them with a little hot glue or super glue or white tack to keep them in place. I'm still on the lookout for a cheap, Nano-friendly, isolated power supply. I may order one of the Caline/ Fame ones and hope for the best.

I had the MXR IsoBrick for a few weeks until it died mysteriously. Then it took two months for MXR to send me a new one after I Priority Mailed the broken one to them. Their communication was awful and they told me they were repairing the one I sent. I had to email after the quoted two weeks turnaround and they hardly replied until week 6, said they’d send it the next day. Week 7 passed, email again, and finally received a new one week 8. In that time I’d already gone and bought a Truetone CS12. I sold the new IsoBrick the day it arrived.

This is what a typical Muff tone control is doing

I’ve spent the last week googling this very subject. I’m using a Godlyke PowerAll (same as a One Spot) and have a measly 5 pedals. I’m getting just enough ground loop hum that when I kick on a compressor in Logic (I play exclusively through headphones right now), that ground buzz goes nuclear the second any of my pedals are switched on. I think the noise is being compounded further by the fact that it’s a US power supply plugged into a Uk travel adapter. I downsized from a Novo 24 to a PT Jr. and now to a Nano (non +). The problem is I just can’t justify the high cost of a Pedaltrain Spark or DC5, so I’ve been looking into the cheap isolated (some may only be partially isolated). So far, I’ve found the Vitoos/ Fame DC8 and Iso4 which are cheap and there are a handful of reports that they will fit under the flat Pedaltrains. I’d be more than happy to stick some taller feet on the Nano for better floor clearance, but I’m also concerned about the supply fitting between the rails. I’ll be following this thread to see what everyone has to add.

Use wire clips to hold the power wires in place. Don’t use those double-ended connectors, most pedal enclosures have a slight angle to the sides and therefore the jacks... using those connectors can strain the jacks and also makes it more precarious to remove those pedals from your board.

There is no pedal on earth that’ll do what you want convincingly. Passable to go down a half step or maybe full on bass, but you’re better off saving your money for a slightly better detuned bass, or just use a capo.

Digitech Drop is considered the best for this, but most players will say using it to go more than a half step is iffy, and a whole step is the limit of where it’ll sound good.

That’s just swell if you’re gonna play quarter notes at 80 BPM.... seems like anything more complicated and you’re gonna get a lot of missed triggers. You’d also think that for the money these things cost they’d put a little more effort in getting a demo that didn’t have the bass farting out in the low end. EDIT: for the money, a Future Impact still seems superior, even with its own inherent flaws.

Put some heat shrink tubing around the arms. The rubberiness will help them grip better.

Everything I’ve read about these in conjunction with bass use suggests tracking is pure garbage.

No, nobody is "stupid" or "wrong" for looking, and nobody "does/ does not need" one universally. Compressors have a threshold which is the point at which the compression actually kicks in. You could theoretically set this threshold (if your pedal has such a control) quite high so that it only compresses notes that are abnormally loud. Or set the threshold low so that every note is being compressed, but maybe only use a small ratio (amount of compression. There are compressors that are very subtle and do more to add a bit of fatness (especially ones with a blend control) and there are compressors that are very squashy and are almost more of an effect (the common example is a Ross compressor and the sound of clean Telecaster guitar riffs in classic country). In short, some compressors are more utilitarian, some are more of an effect. Unfortunately there's not a universal, "best for beginners" compressor because everyone is different: it depends on your bass, playing style, tone settings, amp, etc. as to whether you'll find a compressor does something you need, want, or like. If you find that you get a bit over excited and pop a few notes that are just way too loud, then a compressor or limiter can help with that and can be set in such a way as to not affect your average riffage. While tubes do compress your signal a bit naturally, and overdrive is a form of compression, that does not mean there is a 1:1 correlation between "me have tube amp" or "me use overdrive" and "me no need compressor." Live sound guys put compression on almost every signal from my experience, and definitely put a limiter on every signal. Finally, you haven't heard a record made in the last few decades that didn't have liberal amounts of compression on every single signal.

Get something like an Apogee Jam or Line 6 Sonic Port instead of trying to use a USB converter. There’s no guarantee the iPad will see the B3 as an input source over USB, but it’ll work just like with an amp if you get an iOS audio interface.

The manual is up on Line 6s site. I definitely need one of these...

This is indeed a great question. Honestly, I'd use it more like many people us a pair of Eventide H9's... octave-up and harmonizer, my dirt boxes and filter in the first FX loop, delays and other stuff after that, and then the second FX loop for... I dunno. Just the fact that it costs less than 2 H9's and can do WAY more than the single-algorithm at a time that each H9 can do makes this extremely tempting because what I really want a multi for is modulations, time-based effects, and other weird stuff. If it has decent compression/limiting and dirt in it, then to me that's just a bonus.

Super tempting.

Yup, looks like they’re both 534mm. I loved my U bass but think it would’ve intimated better with a slightly longer scale, like the Goldtone Microbass (which are really nice).

Show us on the doll where the bad U-bass touched you...

The Daddario Ubass strings are rebranded Aquila Thunderguts in slightly different gauges. @JPJ is this longer scale length compared to a Kala Ubass?

This bass also features the switching setup of the D-bird, which is different from the standard 3X switch.

I really like the idea of having easy digital presets for analog effects. Very cool.

It sounds like it glitches a bit in the super low range, but it’s far more stable than any other octave when going that low. It’s really disappointing how expensive importing gear to the UK is, because Broughton makes a bunch of stuff I desperately want.

The selector switch has screw terminals, no soldering necessary. You certainly could swap out the neck and middle wiring positions on the switch. That would mean you’d lose the middle-only option, which I think I’d spend most of my time using. I’d actually really like an AB series bass with a single pickup in the middle position from the 3X setup.

Can you give any examples of how this could be used?

That’s a lot of great features.

With all those other options, you won’t miss not having the neck solo.