Jack

Boring Jack and Wildling Jack.

But they don't though, do they? I'd argue there's a meaningful and appreciable difference between the two basses that even a layman could tell. Probably not so with the pedals. I have actually handed my wife both my Squier and Fender and asked her which was nicer, but I think she spotted the logo and everyone on the planet knows what a Fender is. Perhaps I should try with my MXR Sugar Drive and Tone City Bad Horse. Obviously Darkglass have done the math and set their price point accordingly, it seems to be working just fine. Meh, what do I know?

I don't think I've ever played a bad tech 21 product but I've already lost interest in this because of the price, even though we don't know the price yet. Crazy. I've often wondered what would happen if someone like Darkglass sold their pedals for £100 or so. Would the loss per item be offset by the increase in sales? No need to buy a clone... I just can't see a box with some capacitors in it as a luxury product. It's not like a watch or a car.

Indeed. I really don't think it'd be productive to go back and forth about this, waste of a good thread and all that. Off the top of my head though I can think of several other compromises that would have to be made with those suggestions. My point wasn't that 'mains on top of subs, each side of the stage' is the ideal situation, it was just that it's often the best compromise.

It just is. I know I know, wall loading subs, dispersion, has anyone mentioned power alley yet? The problem is that, in an imperfect world with competing priorities and a different stage each night, it's often the best compromise. I once convinced my hard rock band to at least stack both subs on one side of the stage with the top on top and then have the other top on the other side. Technically better yes, but it meant carrying an extra stand rather than a distance rod, worrying about the legs sticking out, having to secure the three cabinet stack with ratchet straps and then running the output of one of the subs all the way across the frontline.

Firstly, subbed for recommendations. Secondly, please accept my vote for the MXR Sugar Drive. My favourite klone.

I was ordering from thomann anyway and took the chance that the isolation pad might stop my home setup from rattling the floorboards. You know what? It sort of does! I can't speak to their intended use of gig isolation but they should work OK for your purposes. The photo has a weird perspective, the isolator is more than wide enough.

Pleased the sub is treating you well. In one band we've got too much sub for the tops so we've got it at 120Hz to take up the slack. In my other band we're running the manufacturers recommended rig and so they're set to 80Hz, again as recommended. Both are occasionally subject to change in difficult rooms.

Dude if you were a kid at my school I'd have just dragged you into my office to talk about self respect.

We were at a comedy club in Newcastle once. If you've never been to a comedy club, you're really not allowed to talk. A guy is taking all the way through this comedian's set so the bouncer goes over to him. It's quiet, right, so the whole room can hear, even the comedian has stopped. "You're gonna have to stop or I'm going to ask you to leave" "But he's stinky poo!" "I know, but rules are rules"

Don't be like that, a 10m instrument cable is only a little over £100.

Always nice to see corporate reps on forums, welcome.

Cool, I didn't know they made a passive one!

I sold my full fat Helix because the Stomp was so good. The Stomp, a wireless and an extra switch are all I use now. My whole rig fits on a PT Nano. ....it even does a decent impression of a Darkglass... Where are you? Perhaps a local BC will hook you up.

I believe that's a Barefaced LF1200.

No, unless @atsampsondid something very unusual then you usually feed a spectrograph a pink noise signal, which is equal amounts of every frequency(ish). Meaning that this is the response of the pedal, there was no bass guitar involved here.

Yeah but then you're the band who makes the whole audience listen to you tune. That will be fine in some situations and not in others.

I'm more 'derringer' than 'big gun' but that's exactly what I do when there's an external soundman. Give them everything, keep the sub bass off the stage. Why knows what they'll be needing for the room (or more likely field as we only really work with sound crews outdoors) and it's near impossible to get that sub bass back after it's been so well removed.

They're very scooped but in fairness so is the original model Sansamp Bass Driver that they're based on. The mid point is pretty much fixed so if you turn both treble and bass down quite a way then you can eliminate it somewhat. The Paradriver (oh the Behringer Acoustic DI copy) have way more mids.

Out of the box suggestion: Wingbass? (not my pic)

I've had two off the shelf (well, they're all hand made but you know), one custom paint job and one entirely custom pedal. Couldn't be happier.

He's gone from being the only game in town to having 4-5 strong competitors now. Might make one a tad protective.

They're there for sure. Try using a tone generator to go lower and lower, but be careful you dint find yourself listening to harmonics or other distortion. The questions are though: where are they? How steep? Is that where your cab wants it? What about your tonal preference? Can you adjust? If I'm doing reggae, straight into a huge wall of million watt subs, I'll be setting it super low or turning it off. Rock with a pick, using just a small 1x12" cab? 80 Hz or so please!