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  1. I miss it! I've had one sat in my Thomann cart for months waiting for when I need something else from them to save a bit on postage.
  2. . Page 35 to this thread I had the same issue and it's seems there are a couple of solutions-perhaps just closing chrome before plugging the FI in.
  3. I'm keen on getting a Bass synth but I've kind of given up on trying to use Bass pedals to sound like actual keyboard synths as they never sound quite as good and even if they did they can't ever completely replicate the same things that can be done playing with keys. Also, the decent ones with presets aren't cheap: A new C4 and DMC micro preset controller will set you back nearly £380 (£229 + £149), new FI is about £300 with taxes and cables, Boss SY-300 is £550, the new Boss SY-200 will be about £280 and might be worth a look as no extra cables needed & no preset controllers needed. If I was specifically after recreating 80's synth sounds I perhaps would go for an actual synth like those listed in a previous reply, or the Yamaha DX FM. Most are cheaper than the synth pedal options and are going to do a better job of sounding like and playing like a keyboard synth. ........then again, making a Bass sound like a synth is fun and I suppose it's not all about just doing the most practical option!
  4. I like that idea of separate boards that can be combined. I've got one medium sized pedalboard that's quite a squeeze to fit everything on but if playing stuff like Reggae there's no need for fuzz pedals and phasers and envelope filters so a separate 'utility/clean tone' type small board with tuner>preamp>compressor>EQ/DI could be good, then an additional board with all the muck about effects can be added ahead of it when needed.
  5. I thought the Big Muff was okay, some pre/post EQing to your taste it sounds better (but so do most pedals), suppose it depends if you like muff type fuzz or not though. MXR Brown Acid is the muff for me! Something to consider though is how these will be used in a band setting and what an audience will hear when it's played through an amp and compressor and Bass cab. I've recently got the Idiotbox Landphil wich is a Rat type distortion/fuzz, it's less warm and fuzzy than muff fuzzes - more harsh and 'ratty', not so nice on the ears if playing solo'd at home via headphones with only that pedal in the chain - but play it through preamp/compressor/bass cab played along with other instruments at volume and that harshness goes and it still stands out whereas muff type fuzz can get a bit muddy and lost.
  6. Yeah, about the only thing I play that'd go through the Stomp to process for me to then record to the Laptop would be the Bass. Drums guitar, vocals etc are mostly from the Laptop as samples or played on a DAW/VSTs so I'd need them to be got from Laptop to go through the Stomp as an effects processor then back to Laptop to record. I think that doing things the usual route with DAW/VSTs for effects processing would be simlper and probably more cost effective though.
  7. Do any of you use the Stomp as an effects processor for producing music rather than just using as a live Bass Effects pedal? I had a Stomp for a while but got rid of it when I realised I prefer individual pedals for the fairly limited amount of effects I want with Bass guitar, but another other use I think it could cover is as a production effects processer: I used Logic as a DAW for years but recently got a Windows Laptop and started using Reaper - which means I now need to buy VSTs (or get free ones), considering VSTs range from free up to £200+ I'm wondering if a Stomp would be cost effective as a production effects processing tool (and also be there as a Bass Effects pedal if needed). From what I remember, the interface is user friendly and there are loads of effects with adjustable parameters that could be useful in production e.g. If I wanted to do something like add distortion and tape echo to a sample I could send the sample into the Stomp to process with it's various distortion and tape echo processing then run a recording of the affected sample out to the Laptop to record......or is that an overly convoluted and inefficient process and I should just stick with VSTs?
  8. The ones I use depend on how much extenal noise there is as I like to avoid having to turn up loud to properly hear it: Sennheiser HD-25. Great at blocking out external noise but are quite uncomfortable for long sessions, quite a bass heavy sound. Audio Technica ATH-M50X. Block out some external noise and are in-between in terms of comfort, clearer sounding than the HD-25 but still quite heavy on the bass. Sennheiser HD 598SR. Open back and let in almost all external noise so only really work if you're playing in a quiet room but are comfortable for long sessions and have an 'open' sound rather than feeling you have speakers clamped to your ears, less bass heavy than the other two.
  9. I've got a 12 stave per page non-ringbound one which was a mistake - it's too much of a squeeze and the pages want to shut themselves. I think fewer staves and spiral bound would be better.
  10. The book does an alright job of covering about 30 years of bassline styles in 30 pages (it doesn't go past the 80s). The notation throws me a bit as it's not exactly the same as the originals but it's usually just a note or two away (probably just far enough to not get involved with copyright). If I get enough time on my hands I'll transcribe the actual tunes. I got a blank music transcript pad a while back but it takes me ages to transcribe anything, I find it quite good practice for carefully listening and music reading though.
  11. The Hal Leonard 'Reggae Bass' book is an alright introduction/overview with play along tracks and notation, it's main problem is all the tracks are 'in the style of' and are just a couple of bars so I made a Spotify playlist with all the actual tunes: ....nothing most of you haven't already heard, but a good collection of classic bassline styles. Goes from Ska>Rocksteady>Reggae>2 Tone>Dancehall. (Dub seems to have been ignored).
  12. I have asked for pedals a few times but the response has always been 'I'm not getting you something you'll just sell after a few weeks' .....I suppose that's basically telling me that I should stop limiting myself to a pedalboard amount of pedals - I need to build up a massive 'wall of pedals' type of collection then I'll get more as presents.
  13. I think that's Predator's self-destruct readout, I'd run.
  14. A quick recording (so no critiques of the playing please!) of some of the tones you can get from it - from heavy Dubbyness through to light distortion through to noise. This is it played on it's own direct so I don't think it gives the best impression of what it sounds like in normal use with compressor/EQ/Preamp/Cab and playing along with a band but shows that it can do a variety of tones.
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