krispn

Jukebox taking a back seat or you dividing up gigs between both? Our keyboard player has just left the 80’s thing so tonight’s rehearsal is the guitarist and me ‘synthing’ things up. Some live footage from us soon I hope!

I’ve a BB424x I may be selling I mean it doesn’t tick any of those boxes you’ve listed... Just saying 😀

I use the hyper luminal too and the additional tweaking you can do via the Darkglass suite means you can tailor the low end with the HPF the set and forget and then have some very high quality compression available plus you can dial these tweaks in for each of the three compression types so you have three on the fly options all the time. Means you can simply and easily try them out with a simple tap. There’s other great compressors out there too but the DG is a really well thought out unit. Good luck

There’s an Aguilar DB599 for £99 and a spectracomp for less on the for sale ad’s right now which are both decent options. The 599 maybe a little more intuitive as a play and play pedal. You’ll find most folk on bc take a pint on pedals here knowing they can reload and take a chance on an unknown purchase as they can easily flip it. For many of us it’s one of the best features - access to used gear which is decent quality and good resale opportunities. And the banter of course.

Look forward to some audio.

DG Hyper Luminal is a great pedal too but you’ll get numerous recommendations and be down the rabbit hole for ages 😀

My recent experience with the C4 is if you need a synth sound on a song but don’t need to be flipping between presets during the song a C4 would be fine preloaded with your 6 preferred sounds. Simply have it ready to go and then flick to your preferred sound before each song. It’s not ideal for on the fly changes without investing in midi kit.

Just had a very hassle free transaction with PPP. Deal with confidence!

Definitely Houses of Parliament worthy for sure!

The sounds out of the Big Al speak for themselves. It’s a very good sounding P bass, good thick neck sound series and parallel MM sounds. And that’s just in passive mode. If you’re a player who appreciates a bit of on stage aesthetics as well as a well made and playable instrument the Big Al would fit that bill. I think MM should be applauded whether you like the style of the thing or not for actually doing it.

I added a JHS Colourbox v.2 to a tube di to achieve a similar thing. It’s a great unit but it’s a spendy option.

My old SVP pro had 5 valves too. The CL pre, I think had only 2 valves.

Sorry I think I’m confusing the CL preamp

I think the pro is very similar if not the same.

I wonder if Fender ever produced a fan fret if that perception would change… of course it wouldn’t. Fender would be berated for doing something new, discontinuing the actually new product while simultaneously producing a new line of all the same basses for even more money than the previous iteration of the range. * I love my fender but just saying

If I may... you're comparing their 4 string scale to their 5 string for overall scale length so that's maybe contributing to the "inconsistency" My understanding is that the Super P4 scale length was to retain a slightly more tradition feel but still using the fanned fret system for the benefits it imparts. The scale length on my old SP5 was a 35" on the low B string and a 34.25" on the E - a 35" B string is quite the norm on anon-fanned basses. The D-Roc which has a 36.25 scale length on the E but 37" on the string B so a similar ratio to other DIngwall 5'ers and mathematically in line with the overall fanned fret ratio Dingwall uses? I owned and gigged a Super P for 5 years and it is a bass I would own again in a heartbeat (and a lottery win). I think of the Super P as if a P bass had done a 6 month boot camp - it is a bit tighter, a bit more muscular , the pick up was neodymium and naturally a less vintage sounding unit etc. but it was still a P bass and a great example of what a modern design can do to inject a new lease of life into a classic. I have recently taken ownership of a DBird and it has a slightly longer scale than the Super P did but it's still eminently playable and comfortable to wear/gig. It has that low end clarity, a tightness to the overall sound and is a well engineered and well made bass. Switching back to my No.1 - a P bass of course - they don't feel the same and they play differently but I wouldn't expect them to or want them too. The scale length and neck profile make the P a littler 'easier', spongier in feel and of course more traditional in its sound but I really enjoy playing both. I have been using the DBird on all home playing and gigs/rehearsals and it definitely has a bit more clarity and cut live, maybe it stands out a bit more rather than 'dissolving' into the mix the was a good P bass does (I often think of my P bass like a low/low-mid 'musical stock cube'). The DBird is a passive bass and like with my P bass I can make it sound more old school quite easily with a twist of the tone knob and it's 'middle position' sound is as workable a P tone as any other P bass out there I've gone on a tangent but fanned fret basses don't have to compete with regular fretted bass. They offer some advantage to some players the same way a MM bass isn't for everyone or when a hollow body, short scale is the only tool for the job!