BigRedX

Hardly minimal. I could distinctly hear at least 3 (maybe 4) simultaneous synth parts plus the drum machine throughout most of the song. On the other hand it does explain where J-Pop band Capsule got most of their inspiration from:

However that means in order to get your proper sound you always need to use your complete rig, and if it's going through the PA then one of the speakers needs to be mic'd up otherwise you are loosing what is to you, an important part of the signal chain.

IMO amps and speakers should simply be a method of getting an instrument level electric signal converted into sound waves loud enough for the audience to hear. They should not add any "colouration" to the sound. The fact that they do is entirely down to poor mechanical and electronic engineering. I don't want amps and speakers to give me "my sound" I want my sound to be created and defined before it reaches the amplification stage. That way there are less variable to have to consider.

Can you check the PSUs for the interface and powered monitors? Do any of them have a plastic earth "connection" on the plug?

@Andie84 Can you please post some photos? There was an Eccles one-piece fretless bass in for sale in The Gallery some time around 2005. IMO it looked more 80s than 60s. At the time I couldn't find any information on it either. IIRC @ped or @Kiwi might have some more information?

Is your computer a laptop with a class 2 (double insulated and no earth) PSU? It may be missing a ground connection somewhere in your set up.

Once you get to the point where money is no option and you have a suitably large road crew, the need for a bass rig on stage for anything other than show becomes completely redundant.

Is that the one that was for sale in The Gallery some time in the early 2000s?

If I could properly define it, I'd be a highly successful songwriter. As it is is I'll just have to put up with that unexpected rush I get when a piece of music comes together, for no obvious reason.

In Isolation headlining at Carpe Noctum in Leeds at the Lending Room. Nice venue with a decent sized stage good PA and lighting rig, and full support from the "It's Goth Up North" crowd.

I've been using multi-effects since the late 80s and compared with what was available back then and how much it cost in real terms the Helix is an absolute bargain. Also when you consider that I paid less new for my Helix and FRFR cab than I did for my previous bass rig which was mostly bought second hand some 10 years previously. At the time I bought my Helix I looked at the cheaper versions and decided that although one of them might be adequate for my needs there was always the chance that some time in the future I'd need a feature that was only available on the top of the range model. It turns out that the digital "scribble strips" over the individual foot switches have been absolutely invaluable, and I don't really know how I would have managed without them.

Exactly.

Line6 Helix Edit: Having said that I rarely use any of the bass amp (or cab) models. The great thing about modelled amps and cabs is that the worst that can happen if you put the "wrong" kind of instrument through it, is that the result won't sound particularly good. Use your ears rather than your eyes when it comes to selecting an amp or cab sim. I mostly use one of the EQ modules rather than an actual amp, as they tend to be more versatile. When I do use an amp sim most of them are "guitar" ones an have been picked for their distortion sounds more than anything else.

Back in 2008 I spend a very pleasant few hours at the Sadowsky workshop (when it was still in Brooklyn) playing all their demonstration instruments. Firstly I should say that I have yet to come across any J-style instrument that I really like, so my comments will be biased... On the whole they all played nicely, but so do most other high-end J-style basses. Also IMO they all sounded much better with the (highly regarded) Sadowsky pre-amp switched off. From what I have read this pre-amp is a major selling point of these basses. I wasn't that impressed with the difference it made to the basic sound. Ultimately these are Jazz bass copies with some refinements made by Sadowsky. If that's what you want from your Jazz bass, then you will probably like them. Myself? Out of all the Jazz bass copies I've played the one I have liked the best (although not enough to actually buy one) was by Mike Lull.

I would tend to agree, but then again the only bassists I actually like as musicians are Peter Hook and Mick Karn, and while they don't do "bass solos" in the accepted sense, what they play is very much front and centre in the arrangement/mix of their respective bands.

You're obviously listening to a different Glitterband to the one I remember, as IMO their songs weren't even good enough to be filler tracks on GG album.

For me there is no single bass that covers all the musical situations right now let alone whatever music I might decide to play in the future. Despite the fact that both my current bands fall into the same basic musical genre (post-punk/goth) the musical arrangements and the role the bass guitar plays in each is very different and consequently I play very different basses in each band. One has a fairly standard line-up of vocals, guitars, bass, drums and synths (on backing) and for that I use a Gus G3 5-string bass (tuned B-G). The other is just vocals, synth, bass and drum machine and for that one I use an Eastwood Hooky 6-string Bass (tuned EADGCE). While there are a few songs in each band that could be played on either bass, most absolutely require the specific bass that I use for that band. Haven't really had a "#1" bass for about 25 years. I've always used the bass that was most appropriate for firstly the band and secondly the song that I was playing with that band.

The best method for avoiding recording latency is to monitor in hardware rather than software. Might actually be a more cost-effective route for you.

That EGC Bass Vi looks lovely! If you don't mind me asking what is the string spacing at the nut and bridge? Also how are you getting on with the pickups in the "guitar" positions rather than the "bass" ones?

Fair enough. My personal experience with Powerline adaptors has been variable, and has also been that they are dependant upon the other devices using the mains they are attached to. Just be aware that if you add anything with a large current draw to either end of the Powerline circuit it may not continue to work as well. Also as I said previously there is documented evidence that they can introduce noise into the mains which in turn can affect audio equipment.

When you consider that 3 of the best known Wal users - Mick Karn, Justin Chancellor and Leigh Gorman - all sound very different there may be some truth in that...

I would venture that here on Basschat those of us who post reasonably frequently are not the sorts of customers the typical music shop is aiming at.

Same here. But when I do I also pay someone to fit them.

I thought you were having some sort of dedicated point-to-point wireless connection for the internet? What happened to that?

Firewire plugs do not fit into Thunderbolt sockets. You will need an adaptor. However which adaptor you need will depend on what sort of FW socket the interface has (FW400 - most likely - or FW800) and what sort of Thunderbolt sockets the Mac has - standard Thunderbolt or Thunderbolt using USB-C. However, and more importantly Firewire as a protocol was depreciated by Apple 10 years ago and many FW audio interfaces are no longer supported. Personally I wouldn't buy a FW one unless it was by RME. To get some proper advice we will need to know: 1. What audio interface are you looking at? 2. What is the exact model of MacBook Pro? 3. What version of Mac OS X are you running?