SumOne

James Jamerson said "The dirt keeps the funk", and who wants to disagree with him?!

I haven't owned the Seymour but have owned a Cali and it is very good. No matter what people tell you though - there is only one cure for this sort of GAS though and it involves trying a Cali 76 yourself. Personally, I've abused the 30 day return policy of many internet orders and 'bought' stuff I pretty much had no intention on keeping beyond testing/comparing them.

'she was looking kinda dumb with her finger in her bum'

Yeah, Boss and Line 6 should look to Zoom for some synth 'inspiration'. (Or even better, look to Source Audio and Panda Audio).

'Chordify' app is useful for finding chords of songs which is a good starting point.

I don't remember there being a huge difference between running a Cali 76 at 9v and 18v, just more headroom at 18v.

'all the gear, no idea' is better than 'no gear, no idea'.

Has anyone here managed to control a Source Audio One Series pedal via midi PC and CC messages directly from the GT 1000 Core USB? The Core has 'USB audio/MIDI interface for computer-based recording and editing' but I'm not sure if that is the same as being a USB host. "The C4 Synth responds to MIDI Program Change (PC) and Continuous Controller (CC) messages via its mini USB port. The USB port handles communication between the C4 and digital audio workstations (DAW) on Mac and Windows machines as well as external MIDI controllers with USB host support (we recommend the DMC.micro from Disaster Area Designs)" Or does it require the inelegant and costly faff of: SA Pedal into SA MIDI adaptor into TRS to MIDI adapter into Core?

Well, I'm no expert on it which is why I called up my expert witnesses! Perhaps they aren't reliable witnesses but Witness #1 is from the Epiphan website - a professional AV company, and Witness #2 from Moon Audio - a professional AV company (that sells cables). As far as I understand though: Balanced vs un-balanced and low impedence vs high impedence are different things but generally speaking a DI with XLR balanced signal changes the impedence to mic level (low impedance, or 'weaker'), un-balanced signals from things like guitar pedals tend to be instrument level ('stronger') and are often buffered to preserve that over long cables. Mics have to have balanced signals as the low impedence 'weak' signal they provide to the mixing desk then go through a lot of pre-amp gain at the mixing desk - so any interferance they have picked up by the cable is also amplified a lot and is noticable. But that is not usually so necessary for 'stronger' instrument or line level signals - they are potentially better off being a instrument level signal and un-balanced rather than mic level and balanced, hence guitar to pedals and pedal to pedal and pedal to amp connections using un-balanced instrument level signals and adding a buffer to preserve it over long distances if needed. If buffered un-balanced cables at instrument level go a long distance (>25 foot) to a mixing desk then it might be preferable to have it as a mic level balanced signal, but it is not usually essential (unlike with microphones).

Yeah Soul Limbo is one of my go-to basslines. I like simple basslines. Some others I always seem to be playing: - Groove is in the heart - Gangsters - Good Times - Stir it up - Peaches - Express yourself

You could do parallel paths - something like dry into an envelope filter, and fuzz from the wet, and then combine both signals with a blend pedal. Or fuzz to a guitar amp/cab and dry to a bass amp/cab.

Nice! I'd been looking to get the Jr for ages but they very rarely turn up for sale in the UK and cost a lot when they do. And now it has mid control & 3x tilt frequencies.

I had a Combustion and I'm with you on your wish list: Passive tone control, and I always prefer a front facing jack. Also, I would have liked to be able to blend between the pickups. Great basses though (the main reason for selling mine was it was quite a heavyweight at about 4.5kg but I know they aren't all as heavy).

I don't remember seeing a passive tone pedal. I've owned a couple of pedals that can do a similar thing though: The Aguilar Octamizer 'clean tone' dial (just leave the octave level on zero), and the Creation Audio Glizzly 'high cut' control.

The highlight:

Not playing the exact notes for covers is one thing, most would say that's fine if it sounds good. Overplaying Bass is a different thing though, most people wound say that sounds bad. Personally, I like simple, clear, accurate basslines that provide a solid foundation for other instruments like guitars to do all the unnecessary noodling over!

Yeah, I do agree with you. People should be considerate of others and houses should be built with good noise insulation and not all right on top of each other...but failing that, noise cancelling headphones work really well. I'm mostly saying that as I've lived in some pretty crappy and noisy places: next door to a pub, above a restaurant on a high street, sharing in a dorm type room with no door, in a block with other flats above below and on either side, and noise cancelling headphones kept me reasonably sane.

Usually I'm the one making noise and think earplugs or noise-cancelling headphones are a good solution for people that are annoyed by it. But it does need to be within reason. I had to go out of my house at 2am a week or so ago as a car of lads was parked directly outside playing music really loud for well over an hour with a massive car soundsystem. I was feeling it could've turned into a 'falling down' type situation but they drove off without much hassle. Yesterday I noticed the front of the house had been egged - I've turned into an old man!

The Aggrolites are worth a listen:

In my lawsuit arguing that multi-fx don't generally need XLR: I put it to the jury that: a) It's fine, and possibly preferable for buffered instrument or line level signals to go through unbalanced cables up to about 25 foot, and not much of an issue beyond that unless really long distances (unlike mic level signals that do definitely need balanced even at short distances) . DI XLR for distances from instrument/line level pedal to Cab is probably not necessary or preferable: I call forward expert witness #1 "when the cord length is under 10 feet, unbalanced cables actually have a stronger signal than balanced cables. This is because at this length, any distortion is unlikely, and the simplicity of unbalanced cables can work wonders when there’s no detriment coming from potential distortion. For instance, mastering studios typically use unbalanced cables ranging between three and ten feet in length.".........."If you’re using a longer unbalanced cable on a loud device like a guitar, there won’t be a difference at all (vs balanced)" Witness #2 " most people have the impression that a balanced connection is superior because it is more resistant to external signal noise sources. While this is true, it does not necessarily mean that the balanced line is "better" than a single-ended cable"......"Under 10 feet unbalanced cables actually have a stronger signal than balanced cables. Great for low-level/gain signals like instruments"....(unbalanced is) effective at cable lengths up to 20-25 feet" b) Using XLR has a potential risk from phantom power Expert witness #3 'Wikipedia' "Phantom powering can cause equipment malfunction or even damage" Expert witness #4. Line 6 LT/Floor Manual "IMPORTANT! Never connect the Helix device's XLR outputs to a device whose XLR inputs have 48V phantom power enabled! c) There is no harm in using the DI XLR for pedalboard to belt pack for IEMs or home use but it isn't necessary or preferable for those short distances, a higher volume output (instrument or line level) via un-balanced would potentially be better. d) Expert witness #5 "The FOH guy" prefers to use their own DI box, this is usually the case. My concluding remarks to persuade the Basschat jury to rule in favour of not really needing an XLR on a multi-FX pedal: Cable distances aren't usually large enough to matter for multi fx buffered instrument or line level signals. Modern mixers can take instrument or line level inputs where interferance isn't usually an issue (unlike mic level). If there are long cable runs to mixers where a balanced signal would be beneficial you are probably playing at a festival or music venue - they will want to use their own DI to their mixing desk. If you still need your own DI then most Amps have them. In a situaltion where none of those things above apply (and how often is that the case?) then a seperate DI box is better than it being built into a multi fx unit because it can protect against damaging phantom power. Having a seperate DI box isn't an issue as they can be bought for as little as £11, they are small and tough, and passive ones don't even need to be plugged into power. ......Case closed!

I might be wrong, but I get the impression having DI XLR on pedals is a feature that isn't actually needed in real life very often, at least it hasn't been for me. Music venue, Festival, Studio: They have their own DI, mixer etc. Home use: Unncessary unless you somehow have a massive home studio with long cable runs. And worth considering that "when the cord length is under 10 feet, unbalanced cables actually have a stronger signal than balanced cables. This is because at this length, any distortion is unlikely, and the simplicity of unbalanced cables can work wonders when there’s no detriment coming from potential distortion. For instance, mastering studios typically use unbalanced cables ranging between three and ten feet in length." https://www.epiphan.com/blog/audio-cables-balanced-vs-unbalanced/ ) Gigging band: Most players use Amps/Cabs that you wouldn't have any benefit sending a balanced signal to, if also going to a mixer/PA then the most Amps have pre/post DI with XLR . If going to a mixing desk with a low impedence signal (mic level) then balanced cable is pretty much essential as a lot of gain is applied in the pre-amp which highlights unwanted interferance noise, but for a Bass guitar, modern mixers can take instrument (or line) level inputs so it isn't such an issue. The only situation where I think I could need it is if I was in a band that used its own mixing desk/PA that is over 6m away and I didn't have my Amp to use for its DI XLR (Edit, on second thoughts - it could also be useful if wanting to send a balanced signal with Amp/Cab sim direct from the pedal to the mixer/PA >6m away, and different clean signal to the real Amp/Cab) but that's only needed if there are long cable runs and noticable interferance. Even then, the Stomp has balanced cables (just they don't have XLR connectors), and the Core is buffered so noticable interferance is less likely. I dunno, it just hasn't ever seemed like an issue to me, perhaps it is for others though. I can see it would be needed if playing stadiums with a mixing desk a long way away, I'm not at that level quite yet though! If it turned into an issue fo me then I'd buy a cheap passive DI.

You mention that an XLR essential, that does limit things quite a bit. It rules out the Boss GX 100 and GT 1000 Core, Mod Dwarf, Helix Stomp and Pod Go and Effects, Ampero, TC Electronic Plethora, Headrush, Valeton GP 200 LT, Zoom B1 four & MS-60B, Tonex. In fact, the only <£500 ones I can think of that have it are the Valeton GP 200 and the Zoom B2-Four and B6, Mooer GE 250 & 300, Harley Benton. I would question why an XLR is essential as personally I don't think they are, and it seems companies like Boss and Line 6 and TC Electronic are in agreement with me whereas cheaper brands like Zoom, Valeton, Harley Benton do have them....read into that what you will! If it really is needed they can be bought for as little as £13. https://www.gear4music.com/PA-DJ-and-Lighting/SubZero-Passive-DI-Box/1SDA

My favorite lately is the Boss GT 1000 Core: Positive: Sounds good, compact, well built/reliable, gapless preset switching (with trails beween presets), lots of effects blocks per preset (26), 3x parallel paths (which seems overkill but can do things like dynamic split paths for compressors), low power use, 2x fx loops, 2x outputs. Negative: It is quite expensive, the interface isn't as good as other multi-fx. I don't think there is another multi-fx as powerful and compact (perhaps the Mod Dwarf?), it's a blessing and a curse with lots of stuff potentially going on that can only be found and adjusted via menu diving. The interface isn't very user-friendly and it has potential for very complex signal chains but only 3x footswitches and a small screen so it is best used as a preset device - that takes a different mindset to having a pedalboard full of individual pedals you adjust on the go. I know exactly what tunes I'll be playing in a set though so using presets is fine with me. Alternatively, things like the TC Plethora or Line 6 Effects are more like the traditional pedalboard 'stomp this footswitch for this effect' approach which I'd prefer if I was in a band that does more spontanious stuff with effects.

Harsh, but this is the solution not only to this dilemma but other Bass related ones (sore back etc) and potentially more serious non Bass related ones further down the line too. I'm sure Yoda or some other equally esteemed religions figure would have an inspiring saying about the difficult path leading to the best destination.