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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

I have been using my Gator ProGo dual gigbag since 2015 with a busy casino circuit band(s), travelling all over WA, and to OR and ID. There is not any tears or broken zippers...it's a tough bag.

When I'm on the road and make any food stops, the bag goes with me inside, I don't leave basses in vehicles.
I like the looks of those rolling hard cases, but I would not find it easy to take in on stops.

jcidulka said:

Thanks for the feedback team!! It’s great.

Feels like SL210 is the route to take, especially if one will not hear the SL115. Maybe one would get more midrange vs low end. And if you increase bass tone to get more out of the 115, concerned about 10” speaker vitality.

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If the tuning is the same for the SL210 and SL410X, the sound will be slightly thicker/fuller overall. Otherwise, AFAIK the tonal balance across the mids and highs should not change in the distance, directly in front of the cab.

However stacking the cabs will reduce vertical dispersion a bit and cause additional lobing across the vertical axis. The number and angle of the lobes will vary by frequency and driver spacing. If you know what to listen for, the lobing is audible at more extreme angles off-axis. For example, close to the rig with the cab flat on the floor.

Adding the 210 will get the top speaker a bit closer to your ears. This will probably help you hear the mids and highs a bit more clearly close to the rig...especially if you tilt the 210 up a bit.

miles'tone said:

This is brilliant information, thank you very much indeed! You've just made someone 10 years in the future very happy, Cheers!!

Milo.

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20 years, 1 month, 3 weeks and 1 day, give or take an hour in the future I am happy to have found this!

Maxi Funkl said:

Zerofive Audio and Broughton Lowtec I use both are great at what they do. Zerofive is simpler to use Lowtec is more versatile. Never tried the others mentioned. But I recommend both Zerofive and Broughton offerings neither is an always on option for me but both maintain a spot on my pedalboards.

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+1 with what Maxi said here - I have both as well and they both sound great - they are really good at restoring low end after going thru a bunch of pedals. Both are on pedalboards I'm using and are on all the time. The broughton's 5k treble cut is def more useful then it sounds ("what bass freq are up at 5k?").

mikeswals said:

I dont understand 1-in 1-out self imposed "rules". At this point if you have 3/4/5 instruments, the 1-something already doesn't nake sense.

Get get the dang bass if you want it. Theres no laws in how many one wants to have.

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PREACH !!

I love how MBD 3 and EBS Sheehan signature drive complement each other. MBD is placed in the clean FX loop of the EBS pedal. To my ears, MBD is on the darker side. With Tone control on the EBS pedal set above noon, the EBS supplements the high end sizzle which MBD is not capable of. The best things is that one can send the sizzle to FOH separately via a DI box placed in the drive FX loop...so that the sound tech can adjust the amount of sizzle by using a fader without changing EQ settings...

Commercial users are currently limited in their ability to participate in discussions of their own products. Is there some way the restrictions could be modified so they could be encouraged to support the comprehensive product oriented threads which are so valuable to members?

Very nice and I'm glad to see they didn't relic that beautiful finish!

rojo412 said:

I've never heard anything change a bass to more of an "Instant Marcus" sound faster than a set of Dimarzio UltraJazz pickups. Even passive, they are very clear and defined. From multiple experiences myself, these get that sound right away.
If it were me in your shoes, I'd start with these pickups. Find a used set for a good price, give them a shot.
If it doesn't get you there, you can always either change to a preamp with them or sell them for what you paid.

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its because dimarzio made a tweaked ultrajazz for sadowsky, infact sadowsky still sells them sepratley under the sadowsky hum cancelling j name, which works because usually the ultra jazz is smaller than the fender and squier pickup size

You're all set. Go get 'em.

tleebassist11 said:

I’m pretty sure a lot if not all of the masterebuilt basses have the Josefina pups. I’ve played a couple and imho that’s the closest you will get to real vintage pickups

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Not to start another discussion but, vintage pickups are inconsistent and unreliable. Most FCS basses I've had sounded better than most vintage fenders I've had. I think the unbeatable aspect of a good old bass is its "feel" , not so much the sound. Good aging is what makes an instrument unique. In a blindfolded test, my 2006 USA Lakland decade feels more "vintage" than my 76 Pbass.

Ampeg confirmed it as 2019 ( L code )

My sleepy eyes read .....SWIMMING- helped -slapping
Yeah build up strength and speed in your thumb!