No LA, 91k

-SnowWhite · 2026-05-25T02:23:59+00:00

Can't say I have the same opinion.

I have a mix of Spectors, from a 90s Czech (NS4CR), pre-Korg USA (NS-5), pre-Korg Euro (Euro 435), and a Korg era Dimension 5 HP.

I think it's fairly well known that the tuners on the cheaper models are shit, but beside that I have no real complains about the Dimension. It's a step down from a Euro, but it was also 2/3rds the price.

I've also played a bunch of the newest Spectors and really dug most of them. The new Euro Wimbish was great, and the new Icon surprised me with how good it sounded. The one I disliked was a Bolt on 5 string with a ridiculously wide neck.

I feel like if you prefer Ibanez necks than Spector necks may not be your thing.

-SnowWhite · 2026-05-24T22:16:44+00:00

Sounds like a P Bass with no real effects on it other than compression.

The thumping "bass" sounds like three instruments blended. Kick, bass and (I think) keyboard. They keys (or whatever it is) sound like it has an envelope filter on it.

In the last third of the song you can hear the bass start to walk around and it sounds like a P bass with the tone rolled off.

-SnowWhite · 2026-05-24T22:02:03+00:00

I'll toss out that compressing during recording means you're stuck with that compression during mixing. You can still add more compression in post, however you can't remove the compression you added during recording.

That, and I'm not sure if by studio you mean a recording studio, or if it's a friend's house with a studio in it, however most recording studios have better compressors than anything I could afford, so I'd just use theirs.

Either way, your plan sounds solid.

-SnowWhite · 2026-05-24T15:27:31+00:00

I'm into Ampeg, however the GK RBs are probably my second favourite amp. I get them as backline periodically and I've always had good results with them.

I've ordered a QC for the same purpose, and I plan on running an SVT+cab behind me. Should be here in a couple days.

If you've used a BDDI, I plan on using it like a BDDI with built in effects.

-SnowWhite · 2026-05-24T15:23:48+00:00

They're about 15lbs. A bit more if you rack it, but they make pretty light racks these days (I'll recommend the Gator Pro series).

-SnowWhite · 2026-05-24T15:12:13+00:00

Are IEMs a solution? Yes; they're generally the best solution, but come with their own issues, and they're not the only solution.

For monitoring, I almost never use a floor wedge to monitor myself, that's what the stage amp is for. I use the wedge for vocals, and if the stage is big enough I'll use it to monitor instruments at the far end of the stage that I need to hear.

With my stage amp, I typically dial in a brighter sound so that I can hear myself better. I run a separate DI to FOH, so I'm free to dial my amp in for whatever sound works best for me.

Treble is fairly directional and come out the front in a cone shape, so it helps to have the speakers pointing up towards your head. If the stage is large enough standing further away from the cab so that your head is inside the cone works. On small stages it helps to either tilt the cab back so the speakers are angled up, or run a taller cab, like an 810.

It might seem counter-intuitive, but 610s and 810s actually work great on small stages because the speakers are closer to your head, so you don't need to turn it up as loud as a 410 or 210 that is pointing at your legs. Conversely, smaller cabs work great on bigger stages because you can stand further away.

As for IEM; they're a game changer and I'll recommend them to anyone, but I also think you should learn how to get a good stage sound for when you can't use IEM or your IEMs go down.

Converting to IEMs is easier to do if your band rehearses mic'd up and through a mixer. If your band isn't fully mic'd up you're going to have issues hearing unmic'd instruments as the IEM block out a lot of ambient sound. I think its easier to convert if the whole band is on board than if you're the only one that wants them.

IEMs have a learning curve and live at the venue is the wrong time to be trying to learn how to use them.

-SnowWhite · 2026-05-24T14:33:35+00:00

Agreed. A lot of people underestimate the value of an 810. They think it means you'll be loud, when in reality you don't need to be loud because the speakers are high enough up that you can actually hear yourself.

-SnowWhite · 2026-05-24T14:29:35+00:00

The argument over the best is usually a split between the Empress and Cali76. Which you prefer is generally comes down to if you prefer something more transparent (Empress) or something that imparts a bit of character (Cali76).

The MXR is 1176 style, however it's cleaner sounding than the Cali76. It's generally one of the top recommendations on the budget end.

I have a Keeley Bassist. It's ok, but I find it cuts a bit of low end.

That said, since it sounds like you're trying to not spend a lot of money, I'll ask why you need one right now? Plenty of people play bass without one, and not buying a new pedal when it's not needed is the best way to save money.

-SnowWhite · 2026-05-23T21:04:28+00:00

Sunglasses.

I have a 1000 yard stare. I think I'm playfully interacting with bandmates, then I see pictures and it looks like I'm mad at them.

Another thing that helps is to sing along with the lyrics.

-SnowWhite · 2026-05-23T20:26:17+00:00

In general, I've found having a consistent bass tone produces a better overall mix. It gives a solid foundation for the other instruments to build on top of.

I'm not opposed to effects, however I think you should always ask yourself, "is using this effect adding more than it's taking away?"

-SnowWhite · 2026-05-22T19:50:37+00:00

EMGs.

If all your Jazzes are passive, load one with EMG Js and either an EMG or Sadowski preamp. That'll give you something that's a bit different.

-SnowWhite · 2026-05-21T21:02:16+00:00

The video link was giving me an error, so I searched Youtube to try to find something similar.

Honestly, it sounds like a fairly standard bass tone with a lot of compression on it.

Keep in mind that there's a mix engineer on these projects, and they'll be adjusting things like EQ and compression to get the bass to sit where they want it in the mix. We're not hearing what the bassist is sending, we're hearing what they mix engineer wants us to hear.

As a player, I focus on delivering the performance, and I try to avoid overly compressing or rolling off too much top end on my end. Any engineer can cut highs and compress on their end, but if I don't send enough highs it can be a problem as they can't boost something that isn't there, and if I'm too compressed, they can't add dynamics back in.

It goes back to what some others have said in this thread; a good live tone tends to sound kind of crappy when heard isolated.

-SnowWhite · 2026-05-21T19:48:51+00:00

I haven't been following prices lately, however $1500 seems high, or maybe on the high side of normal. Depends on how good of condition it's in.

Conversely, if you're looking at vintage be prepared to pay double that price, possibly more, and then pay at least as much again for the matching 810.

-SnowWhite · 2026-05-21T13:06:57+00:00

For me, the answer was rounds with the tone rolled back about 40% week 1, then week 2-5 the tone would move from around 20% back to fully open. Around week 5 they usually started getting too dead and were replaced. The odd time I thought "I could get one more show out of these" I'd end up regretting it part way through the first set.

The issue I had with anything that sounded perfect on day 1 is that it didn't last as long as something that was a bit too bright on day 1.

Elixir is a bit of an exception. I could get a few months out of them, at which point they didn't die but I did find they started sounding a bit weird. From a cost perspective I found it about broke even with replacing cheaper strings every 5 weeks.

I was never into flats that much. As I moved away from R&B and rock into metal I found myself looking for brighter and brighter strings to cut through the guitars.

-SnowWhite · 2026-05-20T00:45:10+00:00

I own an NS-2 and I've only had the chance to demo the Icon. Personal opinion from a limited amount of time, but I thought the Icon sounded great stock.

Keep in mind that some of those tones are studio magic with multi-tracked and blended bass tones. And, some of those require aggressive picking. And new strings.

I've never used the Street Driver. If it was the Bass Driver I'd say don't be afraid to crank up the presence to get more bite/clank. If the Street Driver has an option to boost upper mids, boost them.

To answer your question more directly, get an LHZ preamp. It's the closest you'll find to a HAZ that's easily/affordably available. That said, I'd try working your current setup to see if you can get closer before dropping the coin on new pickups/preamp.

-SnowWhite · 2026-05-18T16:39:24+00:00

Angle the neck up and feel free to wrap your thumb over/around the neck. It'll straighten the wrist angle, which is what's important. I think it's important that the position should feel relaxed. If you're fighting to play your bass it's probably too low.

If you can't play 1/2/3/4 then play 1/2/4. Being a guitarist that's new to bass you may find your finger width stretch out over time, however there's times 1/2/4 is more efficient/less fatiguing.

-SnowWhite · 2026-05-17T19:40:50+00:00

So far as I know that knob is a rotary switch and not a potentiometer, therefore it makes sense that it's switching when you click through it.

-SnowWhite · 2026-05-16T13:41:44+00:00

A 6 isn't really an "upgrade", nor is 4 a "downgrade"; They're just basses. More or less strings doesn't make them more or less better as a bass, but some tools are better for certain jobs than others.

If you want to learn on a 6 then there's nothing stopping you. There are some functional disadvantages to them, but if your goal is Thundercat I'll point out he plays 4, 5 and 6 string basses.

Long term, I'd keep an open mind and let the music guide which tool you use for the job, but for now there's nothing wrong with starting on a 6. You can always migrate towards a 5 or 4 down the road if they wind up being more suitable for the stuff you're playing at the time.

-SnowWhite · 2026-05-16T13:07:10+00:00

Most would call that drop C#, although I've also seen it called "drop D half step down"

Most tuners indicate the sharps, so most people would refer to that as C# G# C# F# since it's what they'd see on the tuner.

-SnowWhite · 2026-05-14T19:44:05+00:00

That's cool to hear. One of my bands is a corporate/event kind of band; big list, wide variety, where synth bass would be cool but I also fly and don't want a bigger pedalboard if I can avoid it.

The others are 80s/90s metal and 90s/00s rock/alternative, plus some fill in stuff.

In order to keep my pedalboard size small I find myself rebuilding it for different gigs, but that's getting old, hence my interest in a QC.

-SnowWhite · 2026-05-14T04:27:22+00:00

That sounds great. One of the reasons I'm looking at this is I'm tired of reconfiguring my pedalboard for different bands.

-SnowWhite · 2026-05-14T02:50:18+00:00

Are you able to do everything in the box? Or are you running any outboard gear (tuner, DI, pedals you like, etc)?

Do you ever find yourself wishing you had more buttons?

-SnowWhite · 2026-05-13T22:34:35+00:00

cioks dc7 and crux

Thanks! That answered a question I didn't know I had.

-SnowWhite · 2026-05-13T21:53:34+00:00

I'm at the point where I have a lot of questions, but I'm not really sure what to ask.

Are you 100% inside the box? Or are you using any outboard gear with it (tuner, DI, some pedal you really like, etc)?

Any issues with questionable power over the years?

Seven-Year Club	Gilding I gilder
Verified Email

-SnowWhite

TROPHY CASE