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I’ve had a BA2-10-3 cab (or whatever is the official nomenclature) for quite a while. I use it with my MG800. I am always amazed at how many venues that setup is perfect for. That cab has a sweet and articulate tone with plenty of useful volume, handles the highs and lows (doesnt sound “boxy” to me, like many very small cabs), and the array helps me hear it well on stage. If I want more stage volume, such as typically with 6 piece and keys in larger room, I’ll grab a different setup, but the BA10 is pretty nice and versatile for many of my needs.

Podgorny said:

As you said, the U-Bass mimics the low end decay pretty well, but it's completely missing the mids and highs. I think the original Ashbory's strings did it better, but even then, nobody wants to be seen playing these silly things.

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The sax player referenced in the opening post doesn't care that the Ubass doesn't sound exactly like an upright bass in the mids and highs.

The Ubass has the rounded attack and quick decay of an upright, which is all that matters to a jazz soloist looking for support from the rhythm section.

Played pizzicato, the upright is a tuned percussion instrument, and the Ubass pulls that off convincingly enough.

Thanks @pb9717

I felt the same way about a 5-string ReBop I used to have. 35" scale + horizontal balance + the neck jutting out too far to the left made first position feel miles away.

So it's cool to hear that 4-string Spectors fare better in that regard.

I'm currently at Chris Thile's Acousticamp and getting to work with Paul quite a bit, and his copy does indeed sound awesome in his hands.

You might consider a blend/loop pedal, and place what effects you don’t want to impede the low end in that loop, like the one from Saturnworks

Due to loss of function in my hands, I'm becoming more interested in trying to continue making bass noises with something like a bass register console steel, maybe with a palm bender or two.

Anybody building anything like that?

My decrepitude seems to have progressed beyond DIY at this point.

HeavyJazz said:

"Casa Dega" was the first band name to come to mind. Nothing like a deep cut to name a cover band.

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Maybe too deep, and a bit misleading; it sounds like they could be a Mariachi, Norteno, or Banda outfit.
The song title is a variation on an old school Mexican restsurant, Casa Vega, on Ventura Blvd…


I would guess that Tom and the band was fond of the place, but altered the name to avoid any legal problems that might occur.

It’s just down the street, in the backgound of the thumbnail pic here(at 1:38)…
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After you’ve gotten a brief glimpse of Casa de Cadillac at 1:29. These places are all in the strip including the Sherman Oaks Guitar Center, which closed due to a recent flood after a car hit a fire hydrant in front, and the burst of water went up on the roof before the flow could be shut down, eventually collapsing it.

DirtDog said:

Chord inversions will help out here. Also not needing to play full chords but just the outlines (eg root-third, root-fifth kind of thing). Season to taste.

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Definitely, with two guitars, experiment, use the fretboard, try different voicings, which my help with lead stuff.

Well, I think those two are in a real pickle because of this. This ain’t kosher and this would make a classic Judge Judy case.

Two things for sure are gonna happen here. Their immediate termination from the CC and more the a few “Sap” rules are going to added as part of continued membership of the rest.

jcburn said:

I also have a volume pedal in the drive channel of the EBS set to zero volume, which lets me run the EBS on with the compressor engaged but without the drive just in case I want either a completely clean tone or the overdrive of the Blackberry only.

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I might use JHS mute switch placed in the drive loop to achieve the same result... I just need to get second ICY-30 cable...

My Basslab #1 (07/2022)

The vibration frequency of a tensioned string is non-linear for large amplitude oscillations. Maybe I'm imagining the effect can be heard, but it seems to me that the attack on a double bass is just a little sharp. Adds to the character. Electric bass players don't need to hammer the strings to get volume so the frequency is settled straight away.

Could be imagination, but at a bass workshop the tutor mentioned the difference between tuning for either the attack or the settled frequency. He'd have had a better ear than I.

Yup.

BaltBass5 said:

My only thought is it has a millions knobs, switches and dials…. FOR A PHASER. Why?!?

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Not as many as my Wombtone which I love. Needs more

Glad you got it back in action! The DB680 is, indeed, very nice with the DB728. For my personal preferences, though, I strongly preferred the DB659 with the DB728, so I ended up selling my 680. These are all tremendous pieces of kit!

I'm kicking around using the Go:Mixer to record some bass content that will likely go to YouTube or other social media, mainly some family is curious about my playing still. Would the Go:Mixer allow me to record video of me, while also recording audio from my PC (iTunes/Apple Radio) via the USB?

Sorry for my naivete. Your expertise is appreciated!

It's a feature, not a bug.

I'm being a dick, honestly it does sound a little bit dumb that volume has to be THAT far low.

But it's made me super curious how the pedal sounds. If it's got THAT much output, how heavily does it saturate?

I see this a lot... mostly a holdover from during the pandemic when some used gear was selling close to RRP due to FOMO.

No, I'm not buying your bass for $100 less than the new price. Ditto if your scratched Boss pedal is only $20 less than new. Your used amp with no warranty isn't an attractive proposition at only 20% less than the new price, sorry to say.

Zooberwerx said:

He didn’t install the Audere-provided capacitors between the pickups and preamp, did he?

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I did not. I think those are for use with active pickups, the Creamery pickups are passive dual coil.

I set my GT1000- everything runs through the same amp modeler, the same virtual EQ, then, I just assign the knobs with on-the-fly EQ depending on the bass.

No issues- the main thing to look out for is guitar OUTPUT, I set the output signal based on my least hot bass- say my Passive Reverend, so at max volume, output is ideal, for my hotter actives, I just roll the volume down.

Some multi-effects like my Boss are output sensitive, if you aren't careful, you'll clip the output so everything is really harsh especially when it's emulating a tube amp- or the inverse, it'll sound weak and boring.

Think of it as gain.

Done. Bot, troll, or very confused.

paul said:

I'll look into it for sure. You're connecting from Canada, correct?

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Yes Paul, I am in Ontario Canada

Pet Sounds said:

I know some people don't like 'em, but I think it's cool that your bass is drilled for chrome covers, too.

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Previous owner had the chrome covers on over the bridge and pickup. Under the bridge cover it was super dusty so I spent a good hour disassembling, cleaning, sanitizing, and reassembling all the hardware. I didn't want it to bring it all yucky to my tech; he would've ripped me apart otherwise haha!

Jazzdogg said:

I spent about a decade in a band where the BL insisted that the drummer and I occupy a riser together with the rest of the band at floor level, a foot or so below us. The drums and bass amp seemed to be "coupled" acoustically via the riser. It was an interesting experiment. Folks who sat in with us generally commented positively on the effect. My take is that it "forced" the drummer and I to listen to each other in a way that ordinary stage setups didn't. It was during this period that I began stacking two cabs with the lower cab aimed toward the drummer, like a side-fill, with the upper cab aimed toward me, as my personal monitor.

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Drummer on a riser during rehearsals is common. Guitar player on a riser that is almost 1/3 of the playing area of the room with upside down Fender Twins suspended from the ceiling ( Left and Right) and a Fender Pro Reverb combo with the speakers towards to the floor also suspended from the celling -- is definitely strange. However, it is an effective Wet Dry Wet ( Twin , Pro Reverb. Twin ) setup. The reason he inverted the twins was so he can adjust the controls which were just over his head and he can reach for the controls on the Pro * I think he must have been 5'9/10. But the visual is the king and his subjects because he was by himself on the riser -- it was also lit with colored lights and even had see through drapes and other décor and lava lamps etc.

I am looking for a pic - I lost my phone and this was before I started backing up tot he cloud.

Bass Amp and 610 cabinet was between drummer and the left of that stage. He did play reasonable volumes and not dominating . I can hear everything . There were more time effects than dirt tone