NicoMcJ

38 minutes ago, Woodinblack said:

I would have mentioned the downside of it being mono, but that is exactly what the OP is looking for

It’s really annoying - the desk has 4 aux outs and they are all mono. The singer and lead guitarist want their “own mix” which leaves the remaining two outputs for 3 people. 

It’s the £60 Gear4Music own brand thingy and the sound quality is a bit compressed and hissy, hence me wanting to upgrade the whole thing.

Hi all,

I've used the budget Gear4Music system but my major annoyance is that with the Yamaha mixing desk we use - which has mono aux sends - the sound only comes out of one headphone without an extra bit of gear (currently using a Behringer mini mixer).  I'm looking to upgrade to something that can take a mono signal and send the sound to both ears with no extra gear required.  Maximum budget is £250.  I dont need anything with fancy headphones as I have a set I'm pleased with already.

Any recommendations?

Just now, PatrickJ said:

This might float your boat 😄

 

Phwoar! Now we’re talking!

22 minutes ago, moley6knipe said:

Red Velcro!! Very nice, hadn’t thought of that. Gonna go with “not black” next time mine needs a refresh, LIKE this!!

I found it by chance when looking on EvilBay.  You can get pretty much every colour! 

37 minutes ago, Baloney Balderdash said:

Please read the post you quote and you will find your answer (you don't have to read the entire signal chain, just what I write at the top of the picture about my new pedal board), though you are of course essentially perfectly right, it's just that in this specific context it is rather irrelevant, and that I already have explained in the original post that you quote that I at the moment I took the picture just finished arranging the pedals on my new board, and the next step was to connect and attach them.

Also one could rightfully claim that since the function of this whole thread for is representing a purely visual representation of people's pedal setups, and no one will be able to test them out based on that over the internet anyway, it is quite irrelevant weather the pedals actually are yet connected or not, consequently going out of your line of reasoning you could also claim that just about every body else's posted picture of their setup would work better if the power was actually turned on (assuming that by far the majority of people (I presume you most likely being the exception) will be much more interested in the selection of pedals and how they are arranged than the cables connecting them).

You make a good point.  I might start a separate thread concerning the fascinating field of patch cables.

A# - E# - A# - D# - G# is a thing in metal circles.  Effectively Drop A tuned a semitone up.  No idea why.  

On 11/06/2021 at 13:55, Baloney Balderdash said:

Here's my new pedal board, a Harley Benton Spaceship 80 board, that I haven't got around wiring and attaching my pedals to yet, but here they are sitting on the new board as I plan to arrange them (Count on possibly getting it done later today. Also the white goo on some of the knobs is hot glue applied to fixate the settings. Also got a lot of comments on how dirty my pedals seems to be when I posted this picture on TalkBass , so just to get that out of the way: Yes, I stomp on them with my shoes on at band rehearsal, I don't plan to use them as dinner plates, and tend to use my ears when playing music, not my eyes, beside the way that I edited the photo after I shot it to make it look more clear and crisp apparently had the side effect of enhancing the dirt as well, making it look much worse than it really is) :

 

 

 

My entire signal chain explained in written form :

 

(*pedals listed in [ red/bold/underline text ] are "always on" effects*)

 

 

4 string 28,6" scale Ibanez GSRM20 neck + GSRM20B body Mikro Bass (equipped with an EMG Geezer Butler P pickup, wired directly to the output jack socket, and strung with gauge .090 - .072 - .054 - .040 D'Addario XL nickle plated steel core roundwound strings, tuned in F# standard tuning, 2 half steps above regular 4 string bass E standard tuning) ->>

TC Electronic SpectraComp (always on 3 band parallel compression, adding extra punch, snap and bite, but without really affecting my playing dynamics) ->> TC Electronic Sub'N'Up Mini (always on digital polyphonic octaver, used as an 1 octave up effect mixed with clean bass signal, giving an effect similar to that of an 8 string "octave" bass, with pairs of respectively bass and octave strings) ->> Boss LS-2 [A+B Mix <-> Bypass] (always on, parallel effect loops mixer/switch) ={ [Loop A Send] ->> Joyo Orange Juice (always on low gain overdrive, really primarily used to enhance harmonic content, [Tone] set at about 11 o'clock, [Voice] set to boost a wide curve around a 800Hz center frequency about +3dB pre gain stage, always mixed with clean {bass+octave up} signal from parallel effects [Loop B]) ->> [Loop A Return] ->||<- [Loop B Send] ->> (empty effects loop for clean {bass+octave up} signal blend with Orange Juice in effects [Loop A]) ->> [Loop B Return] ([Loop A] + [Loop B] mixed at an about 50/50 ratio) }=>> Boss LS-2 [A+B Mix <-> Bypass] (parallel effect loops mixer/switch) ={ [Loop A Send] ->> Behringer SF300 Super Fuzz (Boss FZ-2/Univox Super Fuzz clone, octave fuzz, always mixed with clean {bass+octave up} signal from parallel effects [Loop B]) ->> Joyo Orange Juice (lower medium gain grindy kind of overdrive, always used either stacked into the Metal Zone in front of it, and mixed with the Rat distortion in parallel effects [Loop B], or as a dirty slight "clean" boost mixed with clean {bass+octave up} signal from parallel effects [Loop B]) ->> Boss MT-2 Metal Zone (distortion, used with a relatively low gain setting, always used with the Orange Juice behind it stacked into it, and always used mixed with the Rat distortion in parallel effects [Loop B]) ->> Behringer VP1 Vintage Phaser (EHX Small Stone clone, used in the high feedback and deep sweep mode, always used boosted by the Hotone Trem in front of it, and almost always used mixed with flanger in parallel effects [Loop B]) ->> Hotone Trem (Tremolo with rate and depth at 0, always used to boost either the Behringer phaser placed behind it and make it a bit brighter, since it's a few dB above unity gain when engaged and got a tone control) ->> [Loop A Return] ->||<- [Loop B Send] ->> Mosky Black Rat (RAT clone, in Turbo RAT, LED diode clipping, mode, quite raunchy, fuzz-esque, high gain distortion, always used mixed with the Metal Zone distortion in parallel effects [Loop A]) ->> Monarch MFL-22 (flanger, most often used mixed with phaser in parallel effects [Loop A]) ->> [Loop B Return] ([Loop A] + [Loop B] mixed at an about 55/45 ratio) }=>> Behringer UT100 Ultra Tremolo (almost always used staked into Valeton chorus in front of it) ->> Valeton Aquaflow Vintage Chorus (Boss CE-1 clone, almost always used with the tremolo staked into it) ->> Artec SE-EQ8 (always on 8 band graphic equalizer, settings as follows: [Freq=100Hz LoShlv Boost=+1dB ; Freq=170Hz Q=wide Boost=+1dB ; Freq=280Hz Q=narrow Boost=+3dB ; Freq=500Hz Q=narrow Boost=+2dB ; Freq=800Hz Q=narrow Boost=+1dB ; Freq=1.4kHzHz Q=narrow Boost=+2dB ; Freq=2.3kHz Q=wide Boost=+3dB ; Freq=5kHz HiShlv Cut=-10dB]) ->> Zoom G1Xon (Always on "160 Comp" (emulating a DBX 160A compressor) set to a quite subtle compression, and additionally used for 2 reverb patches, which respectively are as follows: Plate Reverb->HD Hall Reverb->Tape Delay, prominent reverb patch :-: Plate Reverb->HD Hall Reverb->Tape Delay, extremely thick lush reverb patch, used as a reverb pad effect with volume swells) ->> NUX Tape Core Deluxe (Roland Space Echo tape delay emulation) ->> Zoom MS-70CDR (always on 2 x 2 band parametric EQ : [Freq=63Hz Q=4 Boost=+1dB ; Freq=200Hz Q=4 Boost=+1dB ; Freq=400Hz Q=2 Boost=+1dB ; Freq=1kHz Q=4 Boost=+1dB] ->> subtle plate reverb ->> and faux, EQ based, cab sim, consisting of a 2 band parametric EQ set as follows: [Freq=12kHz Q=1 Cut=-18dB ; Freq=20kHz Q=0.5 Cut=-20dB], and additionally used for a lush Church reverb that can be switched on/off)

->> Band rehearsal/jamming/gigging  // ->> Home practice / Home recordings  :

->> Joyo American Sound (always on clean preamp (gain set to ever so slightly break up when digging in the hardest), a Tech 21 Blonde clone, analog emulation of a Fender type amp, with a wide curve around the center frequency of 400Hz boosted about +3dB, and an about +3dB pre gain stage boost to wide curve around the center frequency of 800Hz) // ->> Band rehearsal/jamming/gigging ->>  [Effects Return] (poweramp input) of Peavey Solo Special 112 (160W, solid state guitar combo, with the build in 4 Ohm 12" speaker unit disconnected and instead hooked up to a The Box PA 502 PA speaker) ->> The Box PA 502 (full range PA speaker with 1x 15" + 1.7" high frequency tweeter horn)  // ->> Home practice / Home recordings  ->> Behringer Eurorack UB1202 (mixer) ->> [ ->> Sennheiser HD 380 Pro (headphones) ]/[ ->> Behringer Tube Ultragain MIC100 (tube preamp) ->> M-Audio Fast Track (sound interface) ->> Reaper (DAW) ]

 

 

 

I use this setup for the musical project that currently has my main focus, a bass/vocals and drums/vocals duo that in lack of a better genre definition can be categorized as something like progressive psychedelic stoner/doom rock.

 

 

Would they not work better if they were all connected?

Dusted, cleaned and fresh velcro. Hopefully it doesn’t look quite so much like my “last gig was in a quarry”! 😂😂
 

So this started life as a fairly normal Harley Benton Jazz bass kit.  However, yesterday I finally screwed the new iteration together and set it up.  Man, this thing rocks now!

Wilkinson PJ pickups, Wilkinson tuners and bridge, an Artec SE-2A preamp and a switchcraft stereo jack.

The pickguard is from WD Music - their Blacktop Jazz model.

I love it!

I’m using an HX Effects -> VT Bass DI -> Alto TS310. The alto was £223 from PMT.

it sounds great and you can definitely feel it smack the back of your legs when played loud. It’s never been short of volume in a band setting, and if it ever does then there’s an XLR out with ground lift. It even speaks clearly on the low B!

I take a 4 and a 5 to both rehearsals and gigs.  It’s unlikely that both will fail during a rehearsal or gig, so I can wing a 4 string song on the 5 (or the other way round) if I need to.

As for amplification we have a good PA, so if needs be I can just go direct.

I'm seeing the Tech 21 VT Bass DI on a lot of boards, it really is my favourite piece of gear ever - glad I'm not the only one!

Yin and Yang!

I’ve only had one, a red Forty-Eight.  It was great sounding and beautiful to play, but it felt odd to play standing up.  I’d love one of the MM/P models one day!

Another vote for the Sandberg Superlight.  The newer Paulownia body ones are even lighter than the original Cedar models!

After a bit of a failed attempt of buying a Sadowsky MetroExpress I had some money burning a hole on my pocket.

I’ve fancied a 5 string with a P pickup for a while but they don’t crop up that often so I just happened to come across the PMT sale and noticed they had this bad boy with £130 off.

Off I popped to the shop and had a play, before I knew it an hour had gone by! The J pickup is a little underpowered on its own, and the sweep on the bass pot all happens in the last tiny part of the travel bit other than that it’s superb!

I’ve never had a Jackson bass before and I’m not a huge Megadeth fan either, but this bass is superb! Really happy 😊

Normally I’d be more lenient, but it took a week of chasing to even get to the point where they admitted it wouldn’t be sorted in the next two weeks.

Well, the conclusion is that it’s a rubbish retailer.  GuitarGuitar picked it up the day after it was delivered and have told me today that it’s going to take a minimum of 2 MORE weeks to sort.  I’ve told them to keep it.

It should never have left the store in the condition it did, and it’s worried that they have a >3 week waitlist to sort the unplayable junk they sell.

Absolutely gutted.

2 hours ago, chris_b said:

If you're buying new the retailer might be drop shipping, so doesn't see the instrument before it arrives at the customer's door.

Definitely not the case in my situation. Bass arrived yesterday in a Fender box.  Sadowsky box, gig bag and tool kit arrived this afternoon.

3 hours ago, Doctor J said:

Wow, surely the instrument not being set up after being built in an entirely different climate and having spent however long being shipped in a crate from China is not a QC problem and rather the fault of the retailer? 

 

I absolutely did not lay fault at anyone’s door.  I described what arrived and how the retailer is going to attempt to sort it.

3 hours ago, LukeFRC said:

Did the truss not work, or more it was shipped completely unsetup? 

No idea, they also forgot to send the gig bag and tool kit. That arrived this afternoon.

Mine arrived yesterday from guitarguitar. A 5 string PJ.  Electronics were sound, with that typical lovely low end that Sadowsky are known for. A bit of hiss when the treble was all the way up, but that’s not massively unusual in active basses. Very light and brilliantly finished.

However, it was unplayable. I measured 5mm from the top of the 12th fret to the bottom of the E string. I wish I was exaggerating but I’m not. A disappointed phone call later and GG agreed to pick it up this morning to try and sort it out.  On the whole, I’d like them to sort it out but if they can’t get the setup to at least Fender factory specs they can keep it.

I shall post an update when I have one!

That's actually pretty cool for a p1$$ed up jam!!!