krispn

The Glou Glou is an analogue pedal and those tend to have a bigger foot print and fewer features compared to digital pedals. Probably a bit harsh to make the comparison between GG and SA in terms of their design goals and resources. *edit* actually I may be wrong on that. I think one of their pedal I’ve used was analogue but not sure if the pralines is now I think about it.

Drat!

@Beedster is that £100 or £1000. For £100 I might need you to point me in that direction IMMEDIATELY 😀

Sorry for the hijack it was aimed at Reggaebass

There’s a fender Bassman 100t in the for sales that look great. 100w all tube head not too heavy, modern tech vintage tones! If I had the cash I’d buy this immediately! Enough ‘volume’ to get the power amp valves working just where you’d want them.

Tube rolling can be fun but expensive! The 12AX7 -12AU7 swap to reduce preamp gain is a common one to offer a bit more 'clean headroom.

@Al Krow when did you hear my amp?

So here’s my humble little pedal board. It covers me for all my gigs... Basswitch (with Cali76 in the series loop) HPF/LPF ToneHammer The Basswitch allows me to have full eq if needed for a dodgy room, big hollow stage etc. as well as a great DI. The Cali is just wonderful and provides a nice piggy backspace for the LPF/HPF which in turn helps when I’m running my amp loud - it keeps the signal nice and ‘clean’ and everything working efficiently. Finally the Tone hammer for drive duties. It’s such a good drive unit with sweepable mids. It can do a couple of flavours of ‘Ampeg’ if need and help the sound poke out in a full band setting with the mid freq control. I sometimes swap this out for a Darkglass AO if I’m needing more filth.

It tells you all that in the amp description on the website except d)

Yeah a very well respected comp and on the Pro I think Keeley was aiming to have the controls set so everything sound good at noon so on a gig If it got knocked or kicked you could just set it at noon and not have a terrible sound. Clever man that Keeley fellow!

Yeah my eq pedal worked well with it. It sounded good but lacked some of the features many similar priced amps have but still it's lightweight and did the job just plug and play. Simple and effective! The tube comp was a nice feature too. The Fender amp is a far more versatile amp and works perfectly for my needs when playing live. I prefer it over the TTE but they are two very different amps in some respects in terms of sonic goals and overall features.

I used one for a few years. Good amp but some may find the eq limited with only three bands.

The TTE amp had 4 valves- 3 in the preamp and eq plus one in the tube compressor. The TTE was in relation to emulating power amp valves with the class d power section.

@Al Krow What about connecting a mic and recording the same part again? The Mesa demo looks like its being mic'd. Might be more representative?

Might be best to contact Keeley direct. I know Juan form Pedal and Effects did some play through stuff with Robert Keeley gear and Robert is sitting with him. He might say something on that video - there is the pro and the bass versions so maybe the info has gotten mixed up?

Joe has a very funky style but you whack that Vulf compressor on a (bass) track and you immediately get that distinct sound they’ve been doing for years. There’s more going on that flats v rounds. This is 50% playing 50% production imho and I’d recommend the vulf compressor demo’s on you tube to hear what it brings to the party.

Our guitarist does but i fear if I did that they'd have me out at the front of the stage and not cowering at the back in the shadows where I prefer!

True dat!

One of my gigs is a choir and band thing and the 'musical directors' always complained about the sound guy but they kept using him? We consistently told them to find someone else or us the in house guys whenever possible to compare. I think they might now default to a new guy it gets tricky though as we have to balance a full band volume and about 8-10 mic'c to pick up the choir. It'd be a nightmare to engineer! I was gonna add this in my previous reply - I always come to a gig prepared and take responsibility for my own sound - I can eq myself to fit in with the band and compensate for big hollow stages etc I ask what the sound guy needs from me and am happy to be directed for the overall sound mix. Often on these gigs it's not DI'd and the amps on stage have to loud enough to fill the room which can cause it's own issues!

Yeah I totally understand the weirdness of some rooms/venues and I've played a few dodgy rooms in my time but the job of the sound engineer is to mitigate issues, especially if it's the 'in house' engineer - there's an expectation they know the room and its deficiencies. I've no idea if the tech in this case was just hired in for the night but to get it so wrong -sub bassy is how the OP described it - then some responsibility has to be taken.

Often the problem isn't what you're giving them its what they do with it. Even giving them your preferred sound they can still mangle it up. And to all the good sound engineers out there keep doing the good work!

Pic a Ric