fretmeister

@Muppet Like you I hate the notched controls. I sent Dave my RM800 Evo2 and he swapped the notched for a smooth control. And he did it for free. The notches are crap. They remove the chance of getting the settings spot on. Even on the RM it went from too quiet to too loud in 1 notch. I'm saving for one of these bad boys and when I order it I will be asking for smooth controls at the time of the order!

If you have a 3D printer or access to one... https://www.cgtrader.com/3d-print-models/gadgets/audio/bass-guitar-muter-3d-print You can now make your own one. $20 for the CAD file and then get it printed somewhere and assemble it yourself.

I'll ask!

On the Floor is there not a switch under the expression treadle?

I've asked about the EXP sockets - "No" for Helix, "Yes" for the Stomp.

I've gigged with a DXR10 on the floor with a Helix for my sounds and I thought it was very good.

I don't know about the EXP sockets - I have the rack version with the foot controller and it's a bit different. The rack controller has a separate socket to be used with the helix specific Mission expression pedal toe switch and that can be assigned to lots of things. The controller for the rack doesn't have an expression pedal on it. 2 sockets are used for the expression pedal, 1 for the treadle and another for the toe switch. The Mission L6H has 2 sockets on it as well for that purpose.

They have an Ideascale page. You can post ideas on it and then helix users can vote for it, and they take that into consideration for future firmware updates. I think the last load of new amps and the little level meters were as a result of the public. https://line6.ideascale.com/c/campaigns/51424/stage/all-stages/ideas/recent I can't remember if you can just use your L6 account from doing updates or if you need to register separately.

I've posted it for you. I'll let you know if it gets any replies, and paste them in this thread.

If it is possible, then I bet someone on the facebook main user group will know. Have you posted it there?

That's beautiful. One of them is next on my list.

It's now the RM500Evo-ii If you just search for RM500 it will show the old model as out of stock because it is discontinued. The RM800 Evo-ii comes up used on here sometimes and it would give a bit extra headroom. I've got the RM800evo-ii and it's really good. I use it a Barefaced Super Twin (very lightweight and tilt back wheels) and it takes whatever I throw at it, be that my usual big band jazz gig, or rock jams with friends. I've not tried the Orange but I like the demos and I'd like to.

I like tweeters, but only when I'm playing at home on my own. Same as roundwounds strings really. As soon as I get in a band I don't want any of that zing. If I'm having trouble cutting through then I low the bass quite a lot and increase the volume and bump the mids.

I've had a Mk1 and Mk3 Sounds about right. Using 1 output only really works when just sticking to a single pickup, or all on full. When the outputs are joined you get insertion loss due to the loading on the pickups by a variety of passive controls. On a jazz bass that gives the famous mid scoop sound that everybody likes. On a P with a massive woofer as well it's just a bit crap. IIRC Billy's own basses don't join the outputs. Even at clinics if he is only using 1 output and wants to swap to the woofer he unplugs and re-plugs rather than just changing the volume controls.

Good luck!

Like the above I don't understand the bit about cutting overtones. Overtones are usually quieter than the surrounding part of the tone and compression usually makes the overtones louder. Compression is unavoidable. Every amp has it built in to an extent. Sometimes just as speaker protection, but often because the designer wants the amp to have a particular response. The PA will be using compression and the FOH guy will be applying it to just about all the instruments to get the mix right for the audience, even if you haven't got any extra on your amp itself. Even for acoustic instruments - there comes a time where the strength of the strum doesn't increase the volume anymore, but the sound still changes a bit. Same for brass and woodwind. At some point the extra air going in does not cause a higher output. I use it quite a bit - but within a show I move from fingerstyle to plectrum to slap depending on the songs. the difference in dynamics for those 3 is massive. It's not a volume issue - (not that I could accurately set the volume for each song every time) - it's a dynamic range thing. A perfect plectrum strum could be just right, but be too quiet as a finger pluck, and completely over the top for a slap & pop.

I have the rm800 evo 2 and I used to have the Puma (the same as the eich before their boardroom arguments] The Ashdown is a lot warmer. I thought the Puma was really sterile sounding no matter what I did with the controls. I ended up using it as a power amp with different preamp pedals instead.

I like the TC Polytune a lot. BUT - every tuner brand behaves a little differently and sometimes even shows accuracy a bit differently. So if the rest of the band are all using the same model - then get whatever they are using. The Peterson Strobostomp is probably the elite level pedal though. If you play guitar or other instruments that need tuning as well, then that's probably the one to get.

It was a school thing. Basin Street Blues.

Weird, isn't it. The Group flats last for donkeys but they can't get it right on the cobalts.

I've tried so many flats and they are all different. I have 3 that I would buy again Ti Flat EB Group 4 Dunlops The EB Group 4 are 40-95 and feel the highest tension (I've not looked) of the 3, but they are much smoother under the fingers that the other 2 and have a relatively bright tone. The Dunlops are next and have more of a trad tone. Not quite as thuddy as La Bella's but more versatile. They are a bit more flexible. Ti Flats - the famous mid pushed low tension option. The EB Group 4 are my favourite of those.

I like it when makers push boundaries. Have you got a pic from playing position that shows how the arm bit stays out of the way?

Be nice if MB actually responded to emails about pricing of the new stuff. Even a “we haven’t decided yet” would be better than nothing.

The ten inch range of BF sound very different to the 12 inch. The 10s are voiced to be far more vintage / traditional in tone. I used to use a set of Mark Bass Club 1x12 and they were very good, but I prefer the clarity / flatness of the BF 12s these days. I think Mark Bass were the first major brand to move to genuinely lightweight cabs, but as with all things there were developments from competitors and BF then went lighter still. Now GR have some models that are lighter. Now Mark Bass have introduced their new line that are even lighter. Can't want to try them. I did notice that the photos of the new cabs suggest they are very deep. Hopefully not so large that they've got them lighter but they won't fit in my car!

Definitely this. The comments on the vids are always from sad old blues gear snobs. "It's got no feel man" Not to you. But maybe to the person who's just spent months nailing a really complex part it is the most emotionally connecting music they have ever heard. They wouldn't have learned the part if it didn't call to them in some way. Doesn't matter in the slightest that a piece doesn't speak to me. Fair play to them - many are really young and are in the "play along to favourite records" stage of development. Some will stay in that groove and be in covers bands. Some will go on to write some banging original music. The only difference is that for my generation we didn't have a chance to share our play-alongs with the world. The amount of really capable young players on youtube makes me feel really hopeful for the future of music. There's some really dedicated youngsters out there with a work ethic that shames many of us.