Baloney Balderdash

Also the thumbnail of that video should give you a pretty good idea of how my pedal board looks now, after I connected all the pedals.

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 is to represent 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).

Did a new visual mod to my main Ibanez GSRM20 neck + GSRM20B body Mikro Bass, using red electrical tape, a few weeks back, looks like this now (did the green electrical tape on the 2 knobs after I shot this photo, and couldn't be bothered to do the shooting and editing all over so I edited in the green knobs on this photo to the best of my abilities using PhotoShop) :

All the analog pedals in my current setup (that is 14 units) require less than 50mA pr unit to run properly, actually far less on an average, and of the digital pedals I have in my setup (that is 5 units) the one requiring most power to run properly consumes no more than 150mA and the one requiring least just about 100mA, which as far as I know, unless, as you correctly point out, utilizing tubes, is more in line with what you typically would expect. Most digital pedals that require more than 250mA to run properly will be multi effects, stand alone digital effects will typically require a minimum of just around 100 to 150 mA or (though you are right about certain digital pedals requiring a bit less, more in the realms of around 60 or 70 mA or so), but rarely over 250mA (unless, as said, being multi effects), and I've yet to run into an analog pedal that doesn't utilize tubes that require more than 60mA to run, and by far most analog pedals even being happy with way less, typically something more like in the range of 5 to 30 mA. Pedals that utilizes tubes will typically require something more like in the range of 500 mA to 2000mA (0,5 to 2 A) to run properly. So if the power consumption of you pedal is 60mA or beyond it by far most likely is digital, if bellow it by far most likely is analog, 100mA or beyond and you can almost be certain it is in fact digital, and 30mA or bellow you can be absolutely certain that it is an analog pedal. Here's a pretty comprehensive list of the power consumption (aka minimum power requirements to run without issues) of different effect pedals : https://stinkfoot.se/power-list

If I understand you right you are really looking more so for something that produce a light overdrive, to just add a bit of tube like grid to your tone and not really a full blown distortion effect, and if I understood that right then it seems to me like the standard big version of TC Electronic Spark Booster would be perfect for you. Otherwise if you want a more prominent overdrive or distortion effect, then perhaps the EHX Hot Wax or perhaps the EHX Nano Operation Overlord overdrive (both these options including a clean signal blend and being capable of a wide range of drive, from just a subtle touch of tube like grid and hair to full blown distortion).

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.

Just discovered this Japanese bass and drums duo, kind of sounds like some odd crossover/fusion between Primus, Mr. Bungle and Captain Beefheart, most of all I guess really a bass and drums only version of Mr. Bungle :

Depends on what kind of distortion your are going for, but something like the Boss LS-2 or EHX Switchblade Pro Deluxe will help making just about any dirt effect suitable for bass, both units allowing for blending in clean signal to retain proper low end and definition of your signal. The Joyo Orange Juice excels in grinding biting low gain overdrive to kind of medium gain distortion, and personally I use one set to a low gain overdrive mixed with clean signal via one of my LS-2 pedals for my basic "clean" tone. For high gain heavy (as in weight, not the musical genre), gutsy and monstrous ballsy fuzz-esque distortion I can warmly recomend some kind of RAT clone that is capable of both regular vintage RAT germanium or silicon diode clipping and LED diode clipping, the latter most often used by bass players as the LED clipping mode tends to retain low end of the signal it is fed with better than the germanium or silicon diode clipping mode, I can warmly recommend the dirt cheap Mosky Black Rat as it seems to retain low end a bit better in both modes than most other RAT based pedals, though the bit more expensive Mooer Black Secret is also an excellent option for this, the latter sounding pretty much identical to respectively the regular Proco RAT and the Turbo RAT, depending on which mode it is set to, again this is assuming you blend in some clean signal via something like the Boss LS-2 or the EHX Switchblade Pro Deluxe to retain proper low end and definition of your tone. Another option is getting the MXR M85 Bass Distortion, which is also a RAT based pedal with both a silicon diode clipping mode and a LED clipping Turbo RAT mode, as well as this pedal got a build in clean signal mix control, making the use of an external effects loop/mixer pedal like the Boos or EHX ones mentioned redundant.

Well, Peavey own the trademark now and has released some new products currently on the market and in production under the Trace Elliot name that are supposed to recreate the classic Trace sound. Also, as I said in my previous post in this thread, old Trace Elliot amps are still a quite common find on the used market, and usually goes for quite reasonable prices too, though, at least here in Denmark, I have noticed the used prices going up lately for these amps. If weight is not an issue (those old Trace Elliot amps tends to weight about a ton) in my opinion no better amps exist, discontinued or currently in production, they sound no short of absolutely amazing, and they punch a good deal above their rated wattage too.

Phenomenal Syd Barrett cover :

The best bass tone I ever had was from an old start/mid 90's 130W SM7GP 1x 15" Trace Elliot combo, which I very much regret being stupid enough to sell at some point. And I've even owned an Ampeg B15S, legendary 60W tube amp (which I regret being stupid enough to let go of as well, but that's a different story), and although that was an amazing amp too I personally prefer the tone that that Trace Elliot amp gave me. As you said it is basically just plug and play and then instant amazement, and damn loud too compared to their rated watts, punch way above their rated power. The downside though to those old Trace amps is that they weight about a ton. But still I seriously ponder on maybe trying to find and buy a used one again at some point. They aren't exactly rare and usually quite reasonably priced too (though I have noted a general tendency for prices seemingly going up lately, at least on the used market here in Denmark).

Word! Yeah, I've always thought Stanley Clarke was a complete hack on a bass too, with his cheap budget short scale custom signature Alembic totally amateur bass. And what was that one hit wonder pop band, The Beads?, who's bass player, I think she was called Paula Marty or something along those lines, played a short scale as well. She looked like a boy too. Who can take musicians like that seriously? I mean seriously, com'on, at least play a proper grown up's instrument. Face it, short scale basses are nothing more than children's toys, and the Earth is and always has been absolutely and completely flat, why I tune all my basses to B#!

Beatiful folk song :

Me utilizing a low gain overdrive, blended with clean signal via one of my Boss LS-2 pedals, as much as to introduce some low gain tube like grid as as an harmonic enhancer, and a TC Electronic SpectraComp, 3 band compressor, as much as a regular compressor as as a tone shaper/enhancer, got me thinking if there are any 3 band preamp/overdrive pedals, with freely selectable frequency crossover points for the 3 bands, that goes all the way from clean to lower medium overdrive for each of the 3 bands, and got a separate unaffected clean signal volume control as well, out there, preferably all analog, and preferably with a character similar to the Tech 21 Oxford/Joyo Orange Juice/Orange amp -esque? Probably a long shot since there would likely be a quite limited market for a pedal with such functionality, probably being too unusual and specific for it to be viable for anyone to make, unless they do custom orders. But if that's the case any idea who might take on such a task, preferably located somewhere in Europe, and what kind of money approximately we could possibly be talking about?

When the black clouds marched across the sky A mother sat awake and a child slept. And an angel´s voice sang in the night´s silence the praise of all the worlds. And the young mother heard an echo Most deeply within her the night´s silent praise: O how the world grew out to every latitude While the little one slept.

Well, I can try, the very basics I would be able to help with at least, but really I just adjusted parameters by qualified guessing from the little knowledge I had/have about how compression works, listened carefully and re-adjusting accordingly until it was spot on right, you know the good old trial and error approach, definitely worth the time it took though. No. I guess that might had been helpful to some, but to me it would have been a completely useless feature, in my opinion nothing beats actually listening when we are talking about tone. Adjusting, listening careful to what those adjustments does and then with a qualified guess adjust further according to what you hear. Though I would wish that TC Electronic would have made a thorough guide to the toneprint editors of each their pedals, cause the very general toneprint editor guide you can download from their homepage is very lacking and frankly completely useless, in that you either already know what they are telling you or you don't have a clue about what they are talking about, and in both cases you are left absolutely no wiser about how to actually use the toneprint editor for the individual pedals.

As I tune my main 4 string Ibanez Mikro Bass, which has a just 28,6" scale length, in F# standard tuning, 2 half steps above regular 4 string E standard tuning, I use a set made out of single strings, the 2 middle strings actually being guitar strings threaded through the cut off ball ends of bass strings, after much experimentation settling for a gauge .090 - .072 - .054 - .040 set, calculated via the D'Addario String Tension Pro online string tension calculator the low F# string having a tension at about 25 lbs and the remaining strings just about 29 lbs each. So I was thinking taking a shot at ordering a custom set of Newtone strings next time, and as far as I can tell from the description it seems like the Diamond line nickle plated steel hex core roundwounds would suit my preferences the best (I would very much like to keep approximately the same measurements as above). Now I actually love the sound I get from the D'Addario XL strings I use, and didn't like the tone of the NYXL strings when I tried them, so my question is how does the Newtone Diamond series strings compare to D'Addario XL strings. I mean both in terms of tone, longevity, tension, stiffness and feel in general? I calculated that with VAT and import taxes a custom Newtone set like this will end up costing me just about the same as if I ordered single string D'Addario XL strings. A longer lifetime would be a big sales point for me.