fretmeister

I don't have a .47 so I'll try with the .22 then. On P basses without this silly circuit I tend to adjust the tone control quite a lot for different songs. Hopefully the .22 will do the job.

That in no way affects the validity or more to the point invalidity of the OP's comment "Ear plugs don't work." That is demonstrably incorrect and yet instead of addressing it or editing the post he avoids the question. This is not an issue of whether ear plugs are perfect or not. No Personal Protective Equipment item avoids risk 100%. The point is whether they assist in lowering risk and damage. There is no other way to read "Ear plugs don't work" than as stated. If the comments of the unknown audiologist have been conveyed correctly they were irresponsible.

No idea!

Sandbergs are slightly smaller than a Fender, not quite Fender shape though. And if weight is the issue their Superlight series weighs under 7lb.

He's the only reason I'm tempted. He's a great actor.

I haven't seen that yet. Not a fan of M Night Can'tspellhisname films.

After a couple of weeks with it I think I can add my Markbass Marcus Limited to the "awesome" list. Took me a while to get the hand of the VERY powerful EQ. Even tiny little movements can drastically adjust the sound. It's also very sensitive to different basses. P with flats needs a completely different EQ than my 'Berg with steel rounds. The differences in different basses comes through very clearly. It is the punchiest class D amp I've ever heard. Very dynamic indeed. I usually use my Helix and a pair of studio monitors in the house but I've left this amp set up for easy use. I like it!

This again contradicts your posts. You literally said earplugs don't work. Without any caveat. I'm beginning to wonder if the "Billy Apple" account login information is known to several people who don't agree on anything.

Nice and click-baity again. You should write for the Sun. How about: "One professional out of hundreds has suggested that ear plugs are not as protective as we might think as other factors might be involved. I have only heard this in passing from 1 audiologist so I don't know if it is a widely accepted view or whether this doctor is the only person with this view. However for clarity I should point out that I was in a consultation with an audiologist for a medical issue so there is a distinct possibility that I didn't hear him correctly."

Section 3 - wearing earplugs. That's the bit your mystery specialist seems to be against. And against common sense.

Moving the goalposts in a discussion is not a technique that works. This is not a conversation about ear infections. As you well know. Are you still standing by your click bait thread title?

If they assist then they work. If they reduce the damage done to the ear they work. They might not work as well as expected but they work. This is not semantics. Crash helmets work. Up until the point where the impact means that the person would be killed whether they were wearing the helmet or not. Thus they still work even though the person is still at risk from head injury. No neurosurgeon would ever be so unprofessional as to to claim a helmet didn't work.

That's a very different explanation to your click-bait "Ear plugs don't work" thread title. It's also very different to your opening sentence of the thread: "I was talking to a specialist audiologist Doctor last week and he says ear plugs don’t work." That is a definitive declaration. It is not an "ear plugs don't help as much as we think" or "Ear plugs only help for some sound levels but not all because of bone transmission." You claimed that an expert told you they "don't work." If a point has been missed that is due to your inaccurate title and opening post. Considering how important hearing is to musicians the last thing this topic needs is sensationalism.

Perhaps the OP should go back to the same doc and ask him if he is advocating not wearing ear plugs at all. I will bet a shiny £1 that the answer will not be "do without - it will all be fine"

I have a lovely Fender American Special with the Greasebucket tone circuit. The circuit is crap. In fact I've had 2 basses with it on, and it's crap on both of them. I've seen various diagrams showing how to turn it into a regular tone control using the existing capacitors. As I understand it, the 0.1uF is the vintage choice and the 0.22uF is the modern one. I've found a few ebay demos of the capacitor swaps but either they have not been recorded very well or my ears can't tell the difference. Is there really much of a difference? Which one to I go for?

Actually in the M900 I quite like to stack them. If I'm using a tone that needs a touch of grit on all the time but then needs to be increased then a pedal is far easier than knob twiddling. I did like stacking the original AO into a B3K (pedal or amp) too - I much preferred it to the AO on it's own. But I don't play that sort of metal so I sold the AO in the end.

I keep coming back to my B3K V2. I like the simplicity of it, and it takes up minimal space on my board.

christmas show only - big band mostly. But I'll jump in with any of the ensembles as needed. There is a rock one - but it's 1970s ish rather than brewtal metal!

Speak for yourself...

I've not tried that approach as I've tended to use EQ rather than filters, but I might give it a try this weekend. The filters in the Helix are very good so it will just be a matter of sketching out the signal path. Assuming 1 input to Helix I'd probably split the signal straight away, then on 1 path into the filter and a compressor, and the other path for dirt. Then combine them. That would allow 1 big long chain with double DSP. Or have the 1 input go to both paths entirely separately. 1 for filter / compressed low and the other for everything else. Then send them to the same outputs to combine or keep them apart for more FOH control, or 2 FRFR cabs etc. What freqs would you set the filters at?

It's the only bit of kit I've never thought about selling.

Probably a divorce!

Good for him if he is. Every artist seems to need to diversify these days. The golden age of The Stones / Elton etc is long gone.

In the full fat helix / LT / rack you can split 4 paths if you want. EQ / compress / whatever them all separately and even send them to 4 separate outputs (2 XLR and 2 1/4) as well. Or combine them. I like running the B7K model without a cab at all, but with a parametric EQ, in parallel with a Rat into a GK amp with a cab, and then a third underneath being the brand new SVT4-pro model for deep low cleans. And then with the beauty of Snapshots I can change multiple parameters on everything with just 1 press of a footswitch.