fretmeister

This version obviously

Blue cheese, peanuts, chocolate and a load of red wine. Just organising a healthy saturday night..... 😎

Placement of a compressor often overlooked too. Makes such a difference. If I want a saturated drive sound - like a proper zero dynamics 1980s widdly guitar > Tubescreamer > Raging valve amp type thing then a load of compression with a high output hitting the drive is great. But that means I would not be able to control the drive amount with my right hand. The signal hitting the overdrive would remain pretty constant due to the compressor. So for a more hand-controllable approach I can put the compressor after the overdrive. So the amount of drive can be controlled by my right hand, but the compressor then equals out the volume. Digging in then gives me control of the drive only and controls the dynamics so digging in doesn't cause notes that are too loud. With a valve amp running loud that compression is done by the amplifier. Bass amps tend to have a larger dynamic range and don't do that as much so an outboard unit is needed for the same effect. There's no difference really, the work is just being done by a different box in the signal chain. Placement before and after EQ is probably even more important. EQ into a compressor can - with a lot of compression - render the EQ settings pretty useless as the compressor mashes all the frequencies into a narrow range. So compressor and then EQ gives back that EQ control. Billy Sheehan's rig goes even further - there's a vid on it somewhere. In his old rack he had a minimum of 2 compressors running in a single path and sometimes 3. Before pedals, after pedals but before the amp, and then sometimes in the amp FX loop as well. All doing different things depending on the placement. And no doubt the FOH guy was adding more. The only place where I've seen compression get used less is on drums - but that seems to be because more and more drummers are using triggers rather than the acoustic sounds of the tubs. Just trigger a perfect sample every time instead, and no worries about mic bleed from the other stuff.

Just compress the fosters out of it. [/running for cover]

Try playing with fingers and then going to slap and have it within the same range. The fingers will sound great.... and the slap and pop will come hammering out of the cab twice as loud as the finger style stuff. Drowning out the rest of the band and ruining the mix. The thumb impact of slap has a very limited range as it is. The string has to be hit hard enough to make contact with the frets - so it automatically has a higher minimum volume than fingers do. But that contact also massively limits how loud that can be as it interferes with the natural decay of the string. If you thumb the note as quietly as you might for a finger plucked part you won't get the slap sound as the string won't hit the frets. So the dynamic range of slap is small - but that range has a higher volume than most fingerstyle playing. Effectively the lowest volume of slap is all louder than almost all fingerstyle. Lighter touch doesn't work in this situation as it needs a bare minimum to sound like slap that is much higher than the bare minimum for fingerstyle. I'm guessing you don't have to swap between fingers / pick / slap within a gig or even within a song? This is obvious to those that do.

I get this cow poop when I do magic too. Cretins asking me why I want a couple of hundred for a show when it's "only an hour?" Yeah - and the decades of practice, the travel, the kit... And (because I do pyro stuff on occasion) - the frakking insurance! Ignore them.

I do agree.... but only when your right hand only has 1 job. If your right hand has to swap between fingers, pick, and slap then no amount of hand control will get those things to work in the same dynamic range.

That's just wrong. Compression doesn't remove anything from the top and bottom at all. High and Low Pass filters do that. Compression just moves all the information into a smaller dynamic range. It doesn't slice anything off. It just squashes it. All the information is still there, including the overtones you seem to be obsessed with. In fact - overtones that are naturally quiet so would be at the very bottom of the wave have their volumes INCREASED with compression to get them into the compressed dynamic range that has been set.

Proper transcription.

That's not a funny look. That's lust. They know it, and I know it.

EMG measurements are on their site. EMG also do different bridge J widths as some Fenders had slightly different pickup widths. I suggest amending the thread title to ask someone to measure the pickups on their Yamaha bass. Then you'll have all the info you need.

It does look amazing. And the twin VU makes it look at bit 1960s sci-fi and I love that.

Just the classics or more modern stuff? Kyle Eastwood's Metropolitain album was written around the bass parts but is also more about the other instruments - if that makes any sense!

Does the string cope with being bent round the tuning head? I thought normal scale flats on a shorty could end up failing at the tuner?

Put a wanted up on thefretboard.co.uk ? Join my Band? Twitter using the 'guitartwitter' community? Ask a friend who works in psychology or HR about the most narcissistic ego-centric 'hole they know. Got to be at least a 50% chance they are a guitarist!

@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?