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I recently had the Strich Looper sent, and we reviewed it on the site.

Might be useful for anyone considering getting one.

REVIEW: STRICH Stereo Looper With Built-in Drum Machine - Affordable Stereo Looping? - Guitar Bomb

Currently running an HX Stomp and Morningstar MC6 as the core control of my FI4 VIP synth rig. I really don't use the models though. None of them are worth a pee hole in the snow to me... so much distortion, so little punch. The beauty of the HX is more in the IR hosting, efx loop management, eq, comp, and chorus in my use.

I also currently have a Helix Floor. Top row of buttons is dedicated to my EUB, bottom row to my fretted bass. Again IR hosting and eFX loop management is the call.

My main gig board at the moment is modeller free, unless you consider the SushiBox Underground Accelerator as the best Fender Showman modeller ever in a stomp format ... I do. The end of the chain on my gig board is currently a Magellan Analog Pre. I use the voice switch to 'middy up' my dark Rob Allen Fretless. That will change shortly to a Genzler re/Q into a Subwy DI+2. I love the Subway - really! I need a completely different thing for my fretless though. I think the re/Q and Subway combo is going to be a potent one.

and then there is the H90... not in bound yet but soon...

There's an awful lot of ad hominem here.
Especially given the likelihood of a currency conversion problem.
This one is done.

Listened to the Revsound demo and it didn't falsify my expectations. I hear prominence, a bass bump in the ~70Hz region, which many probably like, due the driver/small box tuning, giving midbass thump. Not for me. The midrange sounds pretty nice though.

tubedude said:

There's a fix using a negative temp coefficient diode across the.emitter-base.jubction of the germanium transistor. Anyone with a pedal they love should try asking a tech to mod it for them.

Click to expand...

that's good to know. I don't really use my Phat Phuk B for meaningful distortion, just a bit of boost, and have never had a meaningful issue with the germanium transistor's sensitivity to heat.

Effects [BG]
Help with Origin Effects Super Vintage
Thread starterbassnyc1 Start dateJun 17, 2026 TagsNone
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bassnyc1
Jun 17, 2026
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#1
Hi everyone,
I recently purchased an Origin Effects Bassrig Super Vintage pedal. I like it a lot and I've already used it on a coue gigs. Last night at a rehearsal the provided backline was some sort of Galien Kruger amp with Jo effects loop. I had to plug in the front of the amp. No matter what I did, it sounded bad. The cab was a 6x10 Ampeg, no tweeter. How do you guys set yours? Looking for ideas.

BaltBass5
Supporting Member
Jun 17, 2026
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#2
What you would normally want to do is plug the 1/4" out of the SV into the Return on the amp so that you are bypassing the Pre-amp of the amp and relying upon the SV as the preamp. If the amp had no Return like you mentioned, I guess trying everything flat on the amp would be my next attempt. Better yet just use the SV Pre and no amp and rely upon stage monitors and PA support.

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bassnyc1
Jun 17, 2026
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#3
Thank you for your reply. This was in a rehearsal room so no stage monitors or PA besides the vocal mics

Ricky Caboverde
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Jun 17, 2026
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#4
Do a TB or Google search for “flat response [insert particular GK amp model]” and you should find something helpful. Here’s a thread on the 800RB setting: https://www.talkbass.com/threads/flat-eq-on-gk-800rb.900232/

bassnyc1
A moment ago
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Just to update this thread, I've been doing a lot of research on Ampeg and the different versions of the SVT. I've concluded that I prefer the sound of the SVT 350 over the vintage SVT that this pedal is modeled after. I've decided to sell the pedal. I'm disappointed in myself and sorry for all the anticipation I had waiting to save up for this thing and now it's for nothing. I still have my SCR-DI and its little brother, the Ampeg Classic pedal so I'll carry on with those until something else catches my attention.

Avalon U5s are not an industry standard for nothing.

However, like most serious touring sound/studio/ broadcast gear, it's built to extremely clean specs and relative to most bass instrument gear may sound thin to some, which is how they hear super clean/low distortion.

Only you can decide ultimately of it's right for you, but as you can see from the many replies above, it's built a great reputation as a very solid tool.

Some months later...
The Pork Loin is a forever favourite to pair with the Zio. I even bought a second one to stack or keep in reserve. Add the GEB-7, and I'm feeling very satisfied.

Nah, you’ll be fine. The JMJ is a great bass and you’ll figure it out. My Daphne Blue JMJs have been sold, but my black JMJ isn’t going anywhere…

One of the many cool things with the Subway line is that there are no one trick ponies that lead to obvious right answers for "which head would be best for" questions. While some amps will do certain tricks a little better than others, all the models are quite versatile and any one of them makes a great "working bass player, broad utility head".

That is an absolute treasure. I haven't seen one in ages.

Back in the day, they were all I used. The quality was extremely high, and often, the way they were padded made virtually any heavy bass a lot easier to live with. Lots of things discontinued in the Muzik Bidniss over time, but then RB went out of the strap business (and I couldn't buy them anymore) was a VERY sad day. In those days, most anything Reunion Blues was as good as money could buy, and then some.

I would recondition it like any good leather piece with some age, and don't even think of selling it. Treasure it, because nobody makes anything like them today.

Thanks for all the comments. The PDF versions of Berlin's books are on sale right now. I'm working through volume 2 and it's pretty good stuff.

I guess it's time to add a little to this thread. I stated on the first post that I liked the bass so much that I might put in another offer on a Texas Tea Meteora. Well after seeing a Texas Tea Jazz and an Ultraburst Precision in person at my local GC I decided to put in another offer, which was accepted again, and ended up with this as well:


The Texas Tea might look good under stage lights but I really liked the Ultraburst. I thought it might look kind of boring and vintage like a traditional 3 color sunburst but I was wrong, it really pops in person. I just got it today and have not been able to plug into it yet, that will come tomorrow. Kind of funny that when I first saw a MIM Meteora in Silverburst, I was not a fan. Now I own two American Meteoras .

bassvirtuoso said:

While I know I should email John about this issue, I figured I would try here first in case anyone had already run into this issue:

My bass currently has an East Uni-Pre in it. A handful of months ago when I last played it, everything worked perfectly; then it sat in its case for months. Fast forward to me playing it again recently and suddenly the active mode didn't work, but passive mode worked just fine. So I threw in a brand new Duracell, still nothing. Okay, so then I took it to my local tech who does amp work and amazing active wiring jobs for me (he installed the pre originally) - he looked at it for a week and couldn't find a single issue: battery is fresh, battery box is supplying power properly, he checked all wires that were screwed in, no luck.

So I finally get it back home, disappointed and plug it in: still works perfectly in passive mode, but I realize it has a very low output in active mode if I max out all controls and my pre gain on my amp (way louder than you'd want on any other bass) - so it technically works, but barely there active output.

Yes, I've checked the two red jumpers on the treble board per John's site as well, they look to be there and in place.

Any suggestions?

Click to expand...

If anyone in the future reads this with the same issue, the battery lead into the main board was not screwed in fully, which lead to me getting a tiny bit of output in active mode but not full output. I pulled the wire and reseated it properly and all is well again. I'm never using that tech again.

also it did not have the fender custom shop stamp so it was apparently made jan / feb of 89 - can't be too many of them out there. If ya have an white 89 take a look for the crack in paint from tone to end - thanks

I'm sure that some random local musician, playing a local bar or brewery every once in a while, isn't going to run into any litigation over some niche company's logo. If they do then hooray....they must be doing something pretty exciting musically to get that attention. Change it out before you sign your 5 album contract though. Hell hath no fury like an online effects forum member

I love both pedals, but the cdr+ lacks the hpf/lpf blocks which was actually really disappointing. I run each in its own loop (via EHX Switchblade Pro) with the ability to switch their order. Outstanding value on these and definitely an upgrade over the previous iterations (I'm a long time b3n user).

SBassman said:

Is it balsa wood? How can it be that weight?

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Ash, and the pickup & control cavities are a chunk of the total area. Additionally, the forearm carve is pretty extreme

After tripping over guitar stands in some for one reason or another since the early 80's, I finally pulled the trigger on some 'mazon guitar wall hangers.

Branded 'Omniwod'. I like the nice wooden mount, it goes well with our traditional woodwork. Easy to mount, one you drill out the wooden screw holes to 3/16" so the screws clear. And it holds the guitar away from the wall. If you leave the bolt a bit loose, then it will pivot as needed for the headstock.

Both of the bolts that attach the metal yoke to the wood stripped immediately in the first set. I mean IMMEDIATELY (and I'm a pretty handy guy). And that bolt is welded to the yoke, so it's not going to be easily replaced. Anyway, those went back and the next two popped together seamlessly.

I think these kind of offerings generally have more to do with what the teacher wants to teach (or thinks is marketable) than what students demand. Nothing wrong with that; many students don’t know what they need to learn.

ardgedee said:

"Interpolate" is a more genteel term than "copy" or "mimic", I don't think there's anything more to it than that. Maybe it's a little less legally triggering, but in the end they mean the same thing.

Click to expand...

But I've never come across any definition of "Interpolation" that actually describes it that way, or that could (in my opinion) reasonably be interpreted as describing the modern use of the word.

I'm sure future editions of established dictionaries will include the modern use amongst its definitions, because it's in popular use (even if it turns out to be a misuse), and it's by now been used in the modern context in print media (both of those things being criteria for inclusion in the Oxford English Dictionary).

I was just curious when the first use / misuse was, and if it had appeared in the Gilbert O'Sullivan vs Biz Markie case (whether Markie's legal team tried to claim a defence of interpolation, or O'Sullivan legal team eliminated interpolation as part of their case), which would make sense both in terms of people citing that case, and interpolation having a legal definition that covers the modern usage.

ardgedee said:

It's not just for sampling any more. A lot of the oldies music played over the speakers in big-box stores and chain restaurants these days are interpolated performances. For background music it's cheaper to hire people to exactly mimic a hit single than to pay the fees for the original recording. Which says as much about how little musicians are paid these days as it does about how much record companies are demanding.

Click to expand...

This is nothing new : throughout the late 60's to the mid-80's, rather than buying full priced hit singles, you could instead buy "Top of The Pops" albums every couple of months, for a fraction of the price, that comprised pretty faithful recreations of current top 40 hits.

Bizarrely, not only were some of the tracks performed by future hit makers (such as Elton John) before they were famous, but in a truly meta moment of pop will eat itself, some of the records were so popular that they charted in the top 40 (where I assume a smaller, cheaper label decided to cash-in by selling albums of cover versions of albums of cover versions...)

Looks nice! almost Reverend like.

My only concern is access to the dusty end, I wrote a tune that has chord work to the 23rd fret and some basses I simply can't do it.

Michael Drost said:

FWIW, I tried my Boss IR-200 with my homemade EUB(3 Sigma German IR's with Full Circle) for the first time. It sounded shockingly good through my headphones. I'm going to try it through my Genzler Gollihur Bass Array soon. I am optimistic. Next, I'll try it on my double bass.

PS - Here's my son playing the bass without the IR loader. You can get an idea of what I'm dealing with....haha... Login to view embedded media

Click to expand...

Michael Drost said:

FWIW, I tried my Boss IR-200 with my homemade EUB(3 Sigma German IR's with Full Circle) for the first time. It sounded shockingly good through my headphones. I'm going to try it through my Genzler Gollihur Bass Array soon. I am optimistic. Next, I'll try it on my double bass.

PS - Here's my son playing the bass without the IR loader. You can get an idea of what I'm dealing with....haha... Login to view embedded media

Click to expand...

Amazing playing and the EUB sounds really good!

Is it still up for sale?
If not, could you, please, share who made it?
Thanks in advance!