krispn

@Reaper @Kev I'm just illustrating that controls are not always meant to be 'set at noon'. I'm presuming you both have had to tweak gear for a sound and pushing a freq won't automatically introduce noise...well perhaps pushing the treble. In relation to the dUg having the mids there to boost sounds like it counteracting the scoop and therefore makes sense to push those to get the desired sound. If it's not introducing any noise then it's simply working as intended. Personally the dUg sound isn't a sound I'd gravitate to but it would be good to hear the range it offers if one weren't a King's X fan.

Ooft!

My old guitarist had a quilter guitar head and it was pretty loud! Took pedals really well too

To be fair controls on a pedal/amp are meant to be turned until the desired effect/sound is achieved not to where they 'look correct'! Ears over eyes!

A rolled fret board just makes a bass feel more inviting and most folk who talk about a neck feeling 'sublime', 'buttery' et al will probably be describing the 'played in', rolled fret board feel as much as the other dimensions or at least I would! Both my main basses have rolled edges and combined with flat wound strings they fell super smooth and very comfortable to play!

Just a reminder that Bartolini make many, many pick ups and I'd not judge thier entire collection based off a lower priced model found on some lesser and mid-range priced models. I count 8 soap-bar style variations and as many jazz ones too! Might be wise to check what's in it first they might surprise you! https://bartolini.net/product-category/bass-pickups/bass-soapbars/

I blame Bono and The Edge!

I’ve been screwed over twice by my courier this week in collecting a bass I’ve sold. There was a movie being filmed in Edinburgh which may have had a knock on effect the first day (Fast and Furious flick) and the next day I waited all day only to discover they’d called but I never heard the buzzer if they even tried it - I’d even left the front door unlocked so they could just walk in the stairwell. Anyhow the buyer has been great about it and I’m very grateful for his patience. Sometimes things are just out of our hands and it can frustrate all parties!

There is...or was! I know the statue has been removed a few times due to repairs or what have you. I'm assuming it's still 'all original'. As for who's underneath all that bronze...there was a very well regarded Philo impersonator who's not been seen about Dublin for many, many years......

You'll have to excuse the terrible images - ripped straight off VHS. HD didn't exist back in 2005!

Yup mine was a non-original '79. It had the paint stripped and a non-original bridge when I got in it trade for Ibanez!!! The shop were actually selling the bass on my behalf as I was moving to Scotland, where I now reside. They had ot for a while in the shop and called me one day to declare they were gonna buy it. When I asked why the change of heart they insisted I get to the shop and all would be revealed! Here it was before it got bronzed holding down the low end for swagger-core pioneers Bloodbath Callaghan and The Warcrimes

My old 70's p bass was bronzed and used for the Phil statue in Dublin. My only claim to fame! The guys at the Guitar Emporium in Belfast had Phil's black p bass in the shop courtesy of Philomena and they spec'd mine to match Phil's before the bronze casting.

Well he's just bolting together two bits of bought in wood when making a bass right? *ducks for cover*

Extends the scale length on one string only you’d think it’d be easier to move the whole bridge unit back an inch but might ironically have something to do with aesthetics!

Guitar guitar have a competition on just now and the DTE is one of the prizes. I wouldn’t be at all upset if I won one!

I played a sado in guitar guitar and was underwhelmed for the cost and while they might excel on a gig it wasn’t that memorable.

P basses are know for the mid range they bring to the bass sound and band mix. It’s all about the (lo)mids. Jazz basses tend to have bottom end and top end rather than mid punch and on account of this scoop they sit different and aren’t a bass folks would associate with mid punch. Now if you’re playing a jazz with active eq and dial in mids that’s a different thing but inherently a jazz wouldn’t be described as having mid punch. I hear a Sadowsky and I think Marcus Miller scooped slap bass, I hear p bass and I think Duck Dunn! I’m a bit like @thodrik in that folk on forums get all caught up in this that and the other and it’s all a bit meaningless especially when two opposing descriptions of the same instrument are employed. I see it a lot on TB but we can all hear things differently I suppose

If you have a guitar guitar local they’re doing free restringing with Ernie ball strings. Worth trying a set of your choosing for free!

Solid well written advice @51m0n. At some point ones skepticism has to be tested against actual real world application and your examples above explain a really easy and practical way to do so if one has the means or inclination to put their views/opinions to the test. The school of ‘I think’ versus the real world ‘lived experience and practical application of’ is a tale as old as time itself. I look forward to trying this settings in my daw! I hear Reaper has a really good comp to experiment with.

To your supposition... It’s not really ‘erosion of blocks’ if you’re using them to get a particular sound, effect or function. I’d go so far the other way and say that’s the whole point of the stomp, making it fit your set up and it’s only one patch. You could have a different patch with all 6 fx blocks doing the work if you needed. How many Stomp fx blocks are you using on any given sound or song at the minute? If you have one or two free blocks you could assign those to a loop and employ stand alone pedals in that loop to your desired effect and if you have any more free blocks use other Stomp based trickery as I’ve mentioned above. I don’t think it’s identifying limitations of the stomp and I’m simply saying your loop needs could be met by using gear you already own if you understand how to make it work for you. I alluded briefly above to my use of loops above and I think you’re already aware of my old set up. I used a Basswitch with a comp in the serial loop and a drive in the switchable loop which has a clean blend function. The Basswitch also has eq so I’d sometimes set that up for additional eq to help the drive along. Very good unit. I’m not using it for loops just now as I’ve slightly tweaked my set up on the board and it’s not quite as necessary and I’m happy with how my board is working. As for A/B switching I’ve employed an A/B switcher in an old band where I used a lot of drive sounds. I had three different drives, two set up and ‘stacked’ in one loop and in the other, B loop, a massive sounding fuzz with its own clean blend so I had 4 drive sounds availability between the three pedals. Back then I had a aguilar db924 for bass and treble boost always on but that became less necessary and came off the board and was before the loop.

A lot of BC’er enjoy having the ability to record a performance and then listen back at home especially when using new gear as it makes it easier to hear a particular pedal or effect in context but I don’t suffer from a a near pathological aversion to gigging my kit 😀😀

I asked Simon if 2:1 was a bit low. You’ll see my post back up there. I was simply suggesting that a higher ratio might be more beneficial based on an audio clip I’d heard. I was gonna expand on that and suggest with the audio and video recording set up you used you could do a live A/B and have a listen next time you play that same venue and engage the compressor for the track and judge if it evens things out etc but you’re maybe not really that bothered. Be useful as a way to measure performance and if the pedal is useful for you in its intended application. Hard to beat a real world test.

It would have to be year of manufacture based on the serial number even if for some makers this is still not an exact science (the aforementioned inconsistencies with potentially neck being one batch, electronics another, bodies another etc). Many builders alter spec every few years so it’s useful in identifying its feature set. The NOS debate is a little different but might be of importance and should come with some discount. Some links to the actual model and/or the spec might help others confirm if it’s a good deal in their eyes and offer another opinion especially if they’re familiar with that brand. It potentially opens up another question of if you’re only getting it to scratch an itch and thought it was a bargain as a 2018/2019 model what makes it less so if it’s a few years old (NOS) at a bargain price presuming the full spec was listed by the retailer and matched your desired criteria for a new bass. If resale value is the driving force behind this poll the serial number will dictate the age and for some the value to them unless it has some non standard features or is a particularly good vintage!

There is an actual fx loop on the right hand side of the pedal (which can be set up as per the image and a dig about the global settings!). One of the features of the stomp is the integration and flexibility of the unit so it can do the sort of thing you're after as well as the series and parallel thing with effects in those loops etc. You already have the perfect bit of kit to practice on. If you'd prefer to have a box with knobs and not have to deep dive (click a few buttons) then that's a different thing. I shall leave you all to it