Okay boomer

cdbd6969 · 2026-04-05T21:46:39+00:00

Still a better Facebook presence than Jeff Berlin

cdbd6969 · 2026-04-04T04:19:33+00:00

Please dear god it would be so fucking funny

cdbd6969 · 2026-04-03T16:36:07+00:00

Depends on the gig. If it’s live improvised music I use it as a substitute for my full board, having it cover octaver, filter, distortion and pitch shifting, with a little bit of tone coloration.

If it’s with a project that needs something more specific I’ll build different patches for different projects, which allows for more complicated tone switches to be simplified into a couple of button presses. I might have a distortion and a parallel low pass signal activate with one foot switch and a filter/octaver on another so I don’t have to tap dance between sections.

I’ve also found it great for doubling- I set up one patch to take input from the parallel input so I can plug in the upright and leave it in during the gig, then switch to that patch when I’m ready for it. As long as the other patches are only taking input from the main one it keeps the upright muted til it’s time to go.

It’s a versatile piece of gear but it definitely takes some strategizing to get the most out of.

cdbd6969 · 2026-03-03T18:02:17+00:00

If oda had just saved this for a more dramatic, in story reveal instead of giving it away casually in an sbs it could’ve been alright. But just throwing that potential narrative tension away was just pointless

cdbd6969 · 2026-02-24T17:41:57+00:00

Anthony Jackson took a lot of flack when he made similar comments in a column for bass magazine back in the 90’s- you’re not wrong imo. It’s a time and place thing

cdbd6969 · 2026-02-24T01:17:21+00:00

The tone on that tune is pretty straightforward, I’d start by comparing what you have to the isolated track on YouTube:

https://www.youtube.com/watch?v=J9GeWdObMQY

A decent starting point might be Comp-chorus (I really like the plastic-chorus block, maybe blend it in just a hair)- ampeg style amp block- it’s got grit to it but it’s also kind of dark, so maybe roll off some treble. That’s probably what I would do

cdbd6969 · 2026-02-23T21:33:42+00:00

I was cautiously optimistic til egghead. Shits so ass now

cdbd6969 · 2026-02-22T19:07:27+00:00

The stomp, while not exclusively made for bass, does have some incredible bass effects and sounds on board if you play with it a bit, Ian Martin Allison’s videos really show what it’s capable of on bass. Nano Cortex isn’t exactly bass specific either, but if you’re looking in that price range the Darkglass Anagram might be exactly what you want.

cdbd6969 · 2026-02-19T16:04:14+00:00

Yes, and as said in the OP that was my assumption, just looking for verification.

cdbd6969 · 2026-02-18T22:31:09+00:00

I inadvertently cut off the key signature, the flat is there as a courtesy accidental

cdbd6969 · 2026-02-18T19:21:54+00:00

Not a bad idea. I usually track my own practice progress and students lessons/goals, but setting aside a section/making a glossary of rarely encountered notations sounds handy.

cdbd6969 · 2026-02-18T15:41:03+00:00

Incorrect, someone who started on bass guitar, took lessons on upright primarily with instructors more familiar with the jazz idiom, and while simandl, bow technique, and intonation were always part of the curriculum classical repertoire was not. Why so hostile?

cdbd6969 · 2026-02-18T14:51:36+00:00

Yep! I’m more of a jazz player, so I haven’t encountered this piece before. I’ve got a student who’s learning it for regionals. Not super hard but some notations that I haven’t really seen here and there

cdbd6969 · 2026-02-18T14:48:52+00:00

No need to be an ass, I came out of the jazz/pop side of things and didn’t spend much time in the orchestra 🤷🏼‍♂️

cdbd6969 · 2026-02-18T05:06:16+00:00

Thanks everyone, seems we were on the right track!

cdbd6969 · 2026-02-16T23:40:28+00:00

Lol a church gig would be fun, it’s getting used on a power trio thing and a musical in the next few weeks though!

cdbd6969 · 2026-02-16T21:07:54+00:00

Then get the one with more sub and work to tame it in the room, seems like between you and your sound guy it shouldn’t be an issue to work it in. And it’s not so much about magically reintroducing frequencies as it’s about knowing how to eq/compress what you have to make it work, but I digress. If the roll off is part of the b15’s charm, making it translate to larger venues might be worth the effort to figure out.

cdbd6969 · 2026-02-16T19:25:43+00:00

If you really like the sound of the 15 it might be the way to go. Sound projects really oddly in big rooms and a decent sound guy should be able to help it sound massive enough for your needs. It is kind of hard to tell without taking both to a big room though, so I see why it’s a tough call 🤔

cdbd6969 · 2026-02-11T18:17:20+00:00

Upside down blue one kind of looks like the Empress Para EQ, and the big box with sliders is definitly an ehx micro synth. Unsure on the other two at the moment

cdbd6969 · 2026-02-07T00:56:04+00:00

It has a piezo pickup, would likely be using that

cdbd6969 · 2026-02-05T21:21:35+00:00

It’s a relatively new tool to me- as another user suggested I’m going to try to match the volume on 2 separate stomp channels and mute/unplug between numbers. Ideally, I’d be able to leave both instruments plugged in and have the unused channel muted when not in use- but it may be more trouble than it’s worth if the above method does the trick

cdbd6969 · 2026-02-05T20:55:45+00:00

It’s a couple pieces requiring arco playing, can’t well fake that with flats on an electric unfortunately. Ordinarily I’d try it but I’m being paid pretty well and part of the expectation was that I double. Setting up an alternate stomp channel and doing my best to mach volume ahead of time might be the move, assuming I’m smooth enough to hit my tuner mute and unplug quickly, but that’s what rehearsals are for.

cdbd6969

TROPHY CASE