krispn

@gobasserk you’ll have to keep me posted if you see any more of those green BB3000MA I’m jot as big a fan of the old BB but I do like that colour and that it’s passive.

Simple trick to see what’s happening. Go via your DAW with a graphic eq on have a look and see what frequencies in the lows are being affected with the pedal engaged. You’ll know where you need to boost or cut for low loss and reduce and muddy frequencies. Im not sure which DAW you have as there’s been a few discussed- I know you’ve talked a lot about reaper and maybe there was something with a focusrite interface? Basically whatever you’re using should have the graphic so you can see what’s going on. You’ll learn more in 5 minutes about the ‘inherent signature’ of a bass or a pedal that you’ll wonder why you never did it before.

As a wise and knowledgeable engineer once wrote understanding what a compressor can do for you and figuring out if/why you need one is half the battle. The wise old engineer listed these points as some reasons one may wish to ‘compress’ their sound. Dynamics control. Tone enhancement. Speaker/amp protection. For added sustain. As an effect (ie Tony Levin). Only for pop/slap. To keep filters/other effects from blasting ears. So I can use a much lighter touch on the strings.

That Dingwall sherwood green is class!

Four in a row could be considered “on one side” as opposed to a 2+2 etc

I can’t wait to read the “whats the impact of the linear density of my strings” spin off thread 🤗

From memory Galileo had some thoughts on it but I think that was more wave physics. I’d need to consult wiki or an old text book

Hooke's law it's a bit of a stretch

Keep us posted eh!

Please explain string weight * I should say please explain the impact of string weight

Maybe a more pertinent question would be was NE ever a big fan of Spector basses for live and studio work and when he designed his own bass did he 😉😉 'borrow heavily/be inspired by Spector on some design cues'? It's neither here nor there I suppose but I never associate NE with Spector basses and things like 3+1 3+2 headstock were a thing to mitigate Fenders notorious dead spots on the G string etc. which EBMM was doing in the late 70's too.

Did NE or Yamaha ever discuss the influence of the NE design or are these similarities more 'where you've landed' based on similarities you've noticed between the two. I think others have said it's not as blatant a ripas the Warwick/ Spector look.

If a MA came up used for €300-400 I’d certainly take a punt on one. I really like the colour above!

The topic could probably have been closed after Pauls's astute comments and most BC posts could be ended equally as quickly if the logical answer came so early in a thread. Equally I stand by my post on the first page and more recently that it's often not about the actual item but the process and the gear we decide we 'need' ultimately we don't. I was commenting on the impulse to rush out and buy new gear because someone answered an ad for a band or they're having a first rehearsal and buy all the kit. I've seen quite a few ad's like that where someone 'needed' a P bass for a band or a 5'er and it is for sale weeks later, that kinda thing. Sure buy gear, try it out, sell it on and have the knowledge and experience that it did or didn't work for a particular song. I think Paul and I were approaching this from two differing perspectives which ultimately overlap and create a venn diagram which covers both our points ( and likely ends up with a P bass in the middle for the gear I need part versus the gear I have and the gear I want at opposite sides of the diagram.

Here’s a good example of the GAS thing. Rhett Shull had a video up the other week of his signature model guitar, his own choices and preferences as you’d expect with no expense spared. It’s about $6,000. Today a video pops up on you tube from him titled “I bought a cheap guitar and I love it!” I like reading the for sale ads where someone has rushed out to buy a 5 string for a new project which ‘needs’ a 5’er only for that project to fold a few weeks later or buying the new rig for a new band with the same outcome. The person posts a NBD thread to see the same gear in the for sale thread weeks later. The things we tell ourselves eh!

Very few people on BC will discourage a person from buying a new piece of gear. The odd voice of “invest the money in lessons and a good teacher” may get the occasional like but the rule of thumb is to encourage the purchase. It’s probably why most folk vocalise it on here so the wave of encouragement propels the purchase, the NBD/NAD threads etc the praise and adulation for having the new gear etc. It’s the celebration and belonging a piece of new gear can afford someone when lived via a forum which folks might enjoy My statement is an observation not a judgement on whether it’s good or bad just the way a lot of this happens. Just read the effusive threads on the gear pages or the amount of “This looks like the next best thing” threads which ultimately fizzle because the next namm cycle comes around or the next gear fad kicks in. Or see the new gear thread and all the positive chat followed by the for sale ad 3 months later. Most of us have done it - it’s just funny to see folk repeat the well worn path of buying heaps of stuff they won’t use with all the rationalisation in between to end up with a 4 string p bass😀

I believe you can select the eq points on these too.

How’s it playing now with the Babicz? I had a regular Babicz on a jazz and it was so easy to set up!

Tecamp 212M is a good consideration. It’s got NeoD speakers and a 6 position tweeter control which can be adjusted to suit on the soft side and hard side. 20kg or less and an easy carry with the side handles. The ‘M’ size is a good fit for most car boots and also gives a nice look on stage if that’s important. Mine is 600w and as I’ve mentioned elsewhere it just loves watts! If watts were consonants this cab would be like “I’ll have a consonant please Rachel! And another. And another. And another. And another. And another. And another!” And that’s just the first seven watts! It can go right up to 600 of them. I’ve never pushed it far enough to know but I’ve played BIG rooms with it and had no bother. Eich, I believe, went back to ceramic speakers maybe Tecamp did too but I’ve not really looked at another 212 since getting this as it was and remains the right balance between tweak ability on the tweeter, size, weight, power projection and performance and if I play my jazz into it sounds like my jazz. If I play the short scale it sounds like my stubby wee shortie. If I’m throwing the thumb at something I can add zing at the tweeter and fine tune. I prefer a less crispy top end so not really my thing but slapping does come across loud and clear. Folks will know you’ve changed techniques! I don’t see so many available but there should be some out there at a good price as guitar guitar did a massive sell off 8-10yrs ago.

This is close

I feel honoured and I’ll keep an eye out for any further edits.

I’m looking forward to your post on sucking eggs 😉

Good on them!