krispn

I did for the heavier stuff and it shone! I’m using my amp’s built in drive these days with my Tone Hammer pedal providing a bit of extra grit- basically stacking the two as this seems to fit better for the more old school drive tones I’m gravitating. You’ll not need the DG comp with your Stella keeping everything in check for you surely?

The AO is the best sounding DG pedal as it does more than aggressive down tuned djent/Periphery tones. Working the blend level and gain all help get the most out of it. You should nab one for a ‘free rental’ and put it through its paces. I think you’d get some good use out of it considering your leanings to synth/drive tones.

Downloaded it and cant turn the fecking thing on! The plug in screen is there and I can turn thing on and off and change parameters but no actual effect is sounding just my straight bass sound?

Our main venue has a grill/mesh type covering on the wall behind us so the singer basically used some cable ties which are permanently in place - we just clip the backdrop on via wee carabiner 'hooks'. I understand many folks won't have the luxury of this across all the venues they play.

Jamerson barely needed beyond the fifth fret!

ha!

Yup discussion of faith/religion prohibited if I recall from a recent thread

@Osiris AATISSS!

Well your back up cabs are no slouches either 🙂

Did you find the cab too articulate or just happy to use the other stuff in the meantime?

Why did you sell it @Al Krow?

Well I can imagine the bass settings would be more useful than say 11 bell variations for a Bruno Mars track 😀 I listed some artists a few posts back but approximations of songs you’re playing just now and how it might work would be handy. The to do list for me includes Killers - Human or some other track which he’s still not sure of yet, Depeche Mode - Just Can’t Get Enough, Human League - Don’t You Want Me, Old Town Road and we do versions of Wake Me Up and Umbrella already. You get the idea plus you’ll have an idea of what you think would work in your band that likely wouldn’t be a million miles off what we do. If we’re doing four or five songs where it might enhance the bass part I’d be up for trying one or the C4.

@Al Krow if one were available locally to try I wouldn’t ask but I don’t think any are expected in stock until late Oct/Nov. Some of the new song titles the singer has suggested wouldn’t be a million miles away from your jbc stuff hence the request. If you can’t record any samples don’t sweat it.

@Cuzzie ask him about Jon Snow

Do you have more than one effect assigned to engage when that footswitch is engaged or could they be linked to an additional external switch?

Would snapshots work?

Ahh I thought the three loop switcher shared the same ‘ES’ prefix and didn’t realise that it was labelled ‘MS’ Ill blame the week of night shift! Let’s hope that’s not my bc cred down the toilet now 😂😂

Some builders are offering these in their basses as standard, I know Fano do, and you’re correct it’s pretty simple idea!

I have looping options, both series or parallel with the basswitch and a clean blend too should I need them. As you know I’m no stranger to loops as back in the day I used ABY to great effect in one of my bands. Welcome to the party 😀

There is a sub phatty going locally and it is mighty tempting! I've been messing with a few plug-in synths which are great for home use/practice but live a dedicated unit would be much easier. It's just an excuse to buy more stuff isnt it Seriously though if we did add more of the dance stuff I'd not rule out a pedal based solution first but I may bring the laptop/keys to a rehearsal or two just to hear how it sounds as I'd like to have the option especially if it works in the context of the band.

@Al Krow would the es 3 (if 3 pedals in the loop would be enough)or better still the es5 be a more suitable size or something from GigRig? The flexibility of a full blown switcher would really enhance your pedal board between program-ability - series and parallel options, midi etc to get the most out of your kit with the least amount of tap dancing? I think a tool like that could really be worth the pedal board real estate for quick and easy access to all the tones one might need on a gig or just the simplicity of routing options to experiment with of a quiet afternoon. I see you may have missed my earlier request for some sounds - you have some pedals not a lot of us have likely heard in action and it'd be great to hear them in context. Like I said I have a few 80's and dance tunes to be learning for a big NYE gig (Killers, Human League, Depeche Mode, Maroon 5, Old Country Road and a mash up of 90's dance tunes possibly even a hip hop mash up if I can make my idea come to life) and running a synth like the Boss blended with my clean bass has been discussed as an option with the singer to fill out the sound especially on some more dancy/upbeat numbers. Either than or buy a Sub Phatty and just go full phat!

Kind words, thanks 🙂 It’s the added versatility the TS brings especially to a single pick up bass and in this instance I have a nice brighter ‘clank’ should I need it but also that lower mids thing and even that deeper, tone off type sound but with a little something added. I have a HPF/LPF pedal too where the LPF can basically act like a passive tone knob should I need it so I do have the added flexibility of a ‘passive tone roll off’ too which I’ve found useful when experimenting. Thinking of the TS as a passive on board eq might be a bit of a grandiose suggestion but that’s kinda how I look at it.

I think we’ve all been embarrassed at one point in our lives at our lack of knowledge, ability or whatever but we learn form it and it drives us forward to do better and be more confident in how we do that thing next time. Maybe cringe was too strong a word but yeah I think it’s important to listen back and appreciate what was good and what could be improved about a gig, a rehearsal, a performance or a recording. Great gigs can have flaws and still be great gigs, some accidents have led to wonderful discoveries and if we enjoy it then fair enough. Im not striving for perfection or nailing the perfect passing note but I would like to be more consistent and competent in what I play and how I play it. Some may argue do the punters even notice but I like to know I’ve put in a good shift and not have the crowd thinking or worse again the band thinking “What’s this clown playing at? My earlier comments are more about listening back to something I knew at the time was rushed as those tunes in particular developed into good songs which we as a band really enjoyed to play- that one wee section of the tune which, once worked out, made the song sound and feel complete.

It does sound good and for my ear the sweet spot is about four click (it’s a notched pot so each position is recallable) from the darkest setting. I did this a while back which you may find useful... And thanks @mcnach for giving it back 😀