SumOne

I think there's a lot of over-thinking going on here! People generally don't mind hearing impressive singers, or flashy guitar solos and piano parts. Some people (most people it seems) just prefer basslines that are a solid and perhaps catchy backbone to the music, the popularity of simple basslines in pop, rock, funk, reggae, country, hip hop etc. it isn't because people are idiots who don't like good musicians or clever people - it's that the majority of people just don't enjoy the sound of complex/busy basslines, they aren't good to dance to or relaxing to hear, that stuff is better suited to instruments like guitars.

Anyone new to the Core, a couple of simple (but perhaps not obvious) things: - In/out settings: Set your input level correctly. You might also want to check your 'output' and 'sub out' settings. - Tuner: when on it, click < or > to get to the screen to set it to Bass. - On effects chain 'MST' click > to select 'BS mode' to 'on'. - Make a blank template as a starting point for your presets.

I'm back in the Core club, hopefully third time lucky! I've kept selling them when I've gone into a band where I don't need fx, thinking individual pedals will be simpler and cheaper, then bought again when I'm in bands that need more fx. It's a costly business model, perhaps this time I'll learn my lesson and just keep it regardless. I played it with a band that doesn't need many fx last night (just compressor, drive, eq, hpf) and without telling people I'd changed anything the Drummer was very complimentary of the sound "what have you changed? It's the best I've heard you sound". So, an endorsement of the Core for bread and butter sounds, and in a smaller package than even having just those few individual pedals. A couple of criticisms though: I clicked the tuner off once (2x footswitch press) and must have then accidentally pressed one footswitch - changing the Preset to something I didn't want without my realising until the wrong sound was coming out. Not being able to delete fx from the chain: it's not a big deal to just put all the un-used ones at the end of the chain and turned off, but there's potential for confusion and accidentally turning the wrong thing on, if they could just be deleted it'd make things simpler and more foolproof. Boss should have copied the Helix footswitch ideas: dull/bright lights and soft-touch. ...and I don't know why no-one other than Source Audio (and perhaps FI, and to a lesser extent Zoom) can really nail digital envelope filters and synth sounds.

Did a line of ants, threw a tv out of the window then drove my roller into a swimming pool. (Actually, I just had a pint and a chat with bandmates as we packed up our stuff).

The thing that comes to mind for me

Yeah, I'd consider the GT 1000 Core. The processing seems twice as powerful as the Stomp: Core = 24x effects blocks (some are fixed though, e.g. can't have 24x space echo's all going at once). Stomp = 8 (or I think now 10 at a push) Core = 3x parallel paths. Stomp = 2x parallel paths Core = 96khz sample rate . Stomp = 48khz sample rate Core = £499 (on sale at GAK right now). Stomp = £499 And as others have said, more power means things like higher fidelity, lower latency, as well as more complex signal paths (useful for things like running your DB and Bass each in quite long parallel paths within the same preset). I thought the Core sounded better than the Stomp, it's hard to exactly say why, but it just feels a bit more analogue sounding for the things like the overdrives. The Stomp does have probably a nicer interface though (colour screen and things like the soft touch/glowing footswitches - so you know what effect it'll turn on when engaged). Perhaps it's also worth considering the Zoom B6. It has a dedicated A/B footswitch you could use to go between DB/Bass and is £389 from Thomann. I haven't used it, but people seem to say they're decent.

If you are sticking with some core sort of sounds, I'd probably stick with your setup: Tonebone OD --> C4 --> Whammy Ricochet -> EHX Freeze -> SFX Micro Thumpinator --> Keely Bassist I think most of them do their individual job as well - or better than the stomp (especially the C4 for synths and envelope filters, and things like the Tonebone & Freeze & Compressor I prefer a bit of hand on (or foot on) control. The Stomp is good if you want to more complex presets though.

Anyone here happen to know where any DJ Derek mixes are online? I can't find any, there are some tribute mixes and a Spotify playlist of music he played, I can't find any recordings of him live though.

Facebook marketplace seems to bring out the worst in people. Just this weekend, I ended up staying in for a buyer that never turned up, no response to messages even though they'd been hassling for about a week with loads of silly questions and to arrange the collection time. I'd put off other buyers and changed weekend plans. I just can't fathom what's going through their heads to be such time wasters and so inconsiderate.

I recently went back to 4 from 5 as out of three bands I play in there is probably <5% of the setlist songs that go lower than the low E, and those that do mostly are just D for a couple of notes that can be substituted. So no 'need' for a 5. Saying that though, I have been missing that 5th string, particularly for home playing as 4 feels a bit restricted. Similar to the fact I have an 88 key home piano and a 61 key stage keyboard (with octave up/down buttons). So I reckon I'll be back to a 5 soon.

After a couple of weeks I'm still impressed with the CK 61, no issues with it. I guess the Fantom 06 is fairly similar to the MPC Key 61 that I sold to get the CK 61. The MPC Key 61 is more capable than the CK 61 in most ways - but, it is double the price, bigger, heavier, less 'hands-on' for things like organ drawbars. For live use I think the more 'what you see is what you get' approach of the CK 61 with things like physical controls and very little menu diving and faster startup is better, even if it has fewer effects and the sounds are sometimes not as good. My main issue is still the fact that the key width is just slightly thinner than a standard piano, I find 5mm thinner per octave noticable, I am getting more used to it though. I have been on the fence about returning it a couple of times due to key width and the nagging feeling that I'm always going to think a Nord Electro 6 is probably the best of these sort of stage pianos with organ drawbars....but £1k extra is quite difficult to justify. And actually, the Nord is missing a couple of things I find useful like the way the CK lights up buttons to show which sound your are editing, integrated speakers, bluetooth connection, pitch and mod wheel, and the Nord it weighs twice as much, so it isn't better in every way.

Edit: Now I can see the video. It would be nice to have that level of music theory knowledge, but I'm not sure that it's really needed. My guess is that Radiohead were influenced by hearing those songs listed by artists like Elvis, Bowie, Pixies. Or they were noodling about as it's not too far off the chords that the circle of 5ths would point you to (G- C - B diminished). I mean, most people can speak/write without really being able to spell out the theory for how they do it. Sure, some theory helps (you need to have learned to speak/write!) but writing a sentence like 'It sounds great; however, did he make it himself?' Aparrently (via Chat GTP) is a compound sentence that includes Pronoun, Verb, Adjective, Conjunctive Adverb, Verb, Reflexive Pronoun, Interrogorative clause. Do people who write a sentence know all theory/terms? I kind of think, as with music theory, you could over analyse every piece of speech/writing/music in that level of technical detail, but it wouldn't necessarily make for a better speaker/writer/musician (hence why so many popular musicians can't even read music, let along go deep into technical terms and theory).

Generally, the 'rule' seems to be to put the Tuner at the start as that's the cleanest signal to get the tuning from e.g. an extreme example - putting it after an envelope filter that's turned on would make tuning difficult, you'd need to click off your envelope filter before tuning - whereas having the tuner in front you wouldn't need to turn off the envelope filter (or other pedals) for accurate tuning. But after a compressor should be fine. Although saying that, some pedals (especially Fuzz) don't like having a buffer ahead of them - so you'd perhaps want your buffered tuner after them. .....so I don't think theres really one right or wrong answer - it depends on your signal chain.

Cheers, I didn't know about the QR thing.

What's to stop someone meeting you in person, paying via PayPal (or Bank transfer) then still doing steps 3-5?

Every other website (including the Cort website) says 34". The more I look into it, the more I think this'll be my next Bass, I reckon I'll be putting my Jazz up for sale soon to fund it!

Going from EHB back to a Jazz made me realise just how paddle-like the Fender headstock is, and how ridiculous that is to have all that weight at the far end of a long piece of wood you need balanced - so you either end up with a heavier Bass to balance it (especially with things like 35" 5 strings) or neck-dive, headless solves that, and I found them to stay in tune better. I think you're right that it's mostly there as advertising space (and now out of sense of tradition for what people expect a Bass to look like). And yeah, if I get one of these Corts I'll basically be saving the planet by using less wood!

I'm keen. It seems a good deal for approx £700 (Bass Direct), or £650 if you want to trust international shipping from Thomann. That's about £500 cheaper than any 5 String Ibanez EHB (and nearly £900 cheaper than their top of the range EHBs). I've gone from owning an Ibanez EHB to a Jazz Bass, I prefer the sound of the Jazz and it is probably better suited to the bands I'm in, but adding the 5th string, saving a few 100 grams, and moving balance/weight away from the headstock are all big benefits of the Cort. And I reckon I can sell my USA Jazz fo more than the Cort will cost. I think it's mostly tradition/look that stops all Basses going headless, because form an engineering perspective they seem the better way. I've owned a few multiscale basses but there are pros/cons so I'm not too fussed if it's multiscale or not.

Nice Bass! Your review of it is pretty much how I'd describe the two EHB 1005 MS basses that I've had : Good basses in almost every way, but some small issues that are mostly easily fixed. But both of mine had small quality control issues (paint not perfect, a couple of the strings had rust on them), I'd do away with the contoured back - but I did get used it, locking jack is annoying - but easily removed, fret markers aren't great - but I added luminous ones. Headless multiscale 5 seems a winning combination, I'm hoping companies like Dingwall also go down this route.

Pretty much those mentioned, basically players where Basslines stop being the backbone and start being a lead instrument. (usually very skilled players, but if you want to be in the spotlight and show off how many notes you can quickly play then just play guitar).

I found it interesting he used stock sampled drum breaks and cheesy bass and orchestral parts and managed to make it sound good. All those hours I spend trying to find a perfect bass tone are probably wasted!