BigRedX

To the OP, why 1985?

I just had a look at my iTunes library andI have very few albums from 1985 and of those only the Propaganda one was bought at the time. The others were all purchased within the last 20 years. For me the mid-80s (like the mid-70s) was a low point in music. I only bought a handful of contemporary albums between 1985 and 1988. Post-punk and synth pop were on their way out, and I've have to wait for Acid House for there to be new music that I really liked.

Line6 Helix. I can't imagine ever needing any other signal processing ever again.

I couldn't afford a car or even a Walkman in 1985. If I had it would have been Doot-Doot by Freur (which even though it came out in 1983 had yet to be bettered by anyone IMO) or A Secret Wish by Propaganda.

If the OP has all the elements in place then the simplest thing will be for them to just try it. If it sounds OK it is OK.

And IMO fairly useless for getting the Wal sound without the Wal pre-amp.

It probably depends on how you browse. I have Basschat open in a tab of my browser all the time while I'm working so I can quickly dip in and see what's happening while I'm waiting for a 3D render or for Photoshop to process a 2GB file, and because of this the default view works fine for me. If I'm really keen to keep up with what is being posted I can push the window onto my third monitor which is only used about 50% of the time for work. I rarely "follow" any threads because it's easy to see which ones have new posts. On the other hand if I was on a mobile device and viewing once a day or less I might find one of the alternative arrangements more suitable.

A quick reminder that Hurtsfall are playing at the Angel in Nottingham tonight. £7 to get in, we're on about 8.45 but all the bands are well worth seeing.

Nothing. It's all been sold. I started buying studio rack gear in the late 80s as I was building up my home studio and by the early 2000s I had 20U studio of signal processors a similar amount of synths and samplers, plus rack mounted DACs and MIDI interfaces. At the time it was the only way short of having a massive ProTools rig of being able to process multi-track audio. However as my computer and DAW got more powerful and sophisticated I was using the hardware less and less. Also while you can get away with just a single good bus effect, anything that you want to run via a channel insert like compressors and gates you need a separate instance for every channel. When my very expensive digital mixer failed and turned out to be uneconomical to repair I sold the rest of the hard ware and now I do everything "in the box". Not only that but apart from a couple of 3rd party plug-ins Helix Native and VSDSX (both of which I could live without - they make certain things easier but both are completely replaceable) I only use the plus-ins that are bundled with Logic. That way none of my studio becomes obsolete, and I won't suddenly find that one of my signal processors no longer works.

I frequent another music forum where serval of the sub fora have so many pinned threads that the first unpinned one is off the bottom of the "page" on a 23" monitor! Consequently the first thing I do when browsing these is automatically scroll past everything that is pinned.

I have pretty much everything I need. It would be nice if it was all cheaper, but that's basically it. If really pushed I would like Line6 to develop a Synth Filter module for the Helix with full ADSR modulation that can be controlled via MIDI note on/off

If the two signal are completely separate and only one goes to the FoH and the other to your IEMs then it should be fine. Phasing only occurs when you get the same signal from two different sources. The easiest thing is to try it and see if you can hear any unwanted artefacts.

The images of the band all looked like manipulated clips from previous videos, and I'm sure I spotted Bill Wyman in one or two.

Surely the whole point of going for a dedicated pre-amp or modeller is that what you send FoH is the same as what you hear on stage, in which case the last thing you want is a "bass" speaker colouring your sound. That's why those of us who have ditched traditional bass amps use PA-style FRFRs. And if you don't go through the PA and your rig is slowly responsible for what the audience hears then you just adjust the preamp settings until you get the sound you want from your FRFR cab.

If you are getting both the FoH mix and your individual bass send in your IEMs then you may have phase issues with the bass in your IEMs, but in theory not FoH where it really matters. Personally I think that sometimes we get a little bit too precious about on-stage sound. While it would be brilliant have a perfectly EQ'd and balanced mix for each musician in the band, that tends to cost more money than most bands want to spend. In the mean time I'll settle for being able to tell I'm in tune and in time with the rest of the band and enough of the vocals and other instruments to know where I am in the overall song structure without needing to count bars.

If you want to attract one of the Mods attention to move a thread the most effective way is to "Report" the first post and then say why in the resulting dialogue box. IME anything else will most likely be missed.

No. Absolutely not. Unless there is also a user option to retain the current style.

Yes, that's me. There are certain forums I don't look at very often because there are rarely any threads I'm interested in (EUB and Double Bass for instance), but by simply browsing through the threads is the easiest way for me to see new topics I might be interested in contributing to.

It used to be mine. I bought on eBay for about $700 from someone in New York in 2008, and sold it on to someone here in the UK five years later for roughly the same price. I'd still have it if it had 5 strings, but since I only play 5-string and Bass VIs these days it was surplus to requirements and therefore sold along with most of my other guitars and basses when I had a big clear out.

Either given the right strings playing style and amplification. The more I work through this subject, the more I become convinced that the ultimate sound of a solid electric instrument is mostly down to how it is played and what signal processing has been applied to the sound. And this makes me even more convinced that my criteria for selecting a bass or guitar - looks first, playability second, and plug it in just to check that the pickups and controls are actually working third.

So why does this sound just like a typical P-Bass? It's definitely not due to the wood it's made from.

You don't become a famous musician and songwriter with a bit of ability and good luck alone. You get there by being completely driven to do it and working bloody hard to get there. It goes way beyond what the typical person playing covers at the weekend will ever understand, and even then it may not be enough. I know I'll be playing right up to the point when I am no longer physically or mentally capable of it, simply because it is what I want to do, and who am I to begrudge other musicians the same facility just because I don't like their music?

There's people making Fender style guitars out of all sorts of non-tone wood materials, as well as ones with 3D printed bodies. Unsurprisingly they all make usable guitar sounds, and in the context of a recorded band mix I doubt whether anyone would be able able to pick one of those against a guitar with a "conventional tone-wood" body. Also as I posted in another thread recently everyone who has played the Born 2 Rock F4B bass I used to own commented on how much like a conventional P-Bass it sounded despite the fact that it mostly made of aluminium and has very unconventional design that negates the need for a truss rod in the neck. This along with the guitar made of strings between two work benches, seems to indicate that the wood or any other material used for the construction of a solid electric instrument has very little impact on the final sound, and what impact it does have is mostly unpredictable.

And that leads to the question: what makes a particular type of bass that bass? A Precision Bass is generally thought to be something with a single split humbucker in a particular position with regard to the scale length of the strings, but the original Precision bass had a single coil pickup in a slightly different position. Does that make it any less of a Precision Bass? Similarly with the Jazz Bass, Fender moved the position of the bridge pickup. And then what about the Thunderbird - that seems be almost entirely down to the (rough) body shape as all sorts of constructions and pickups appear to be permissible and the bass still be considered a Thunderbird. Ultimately once the bass has been compressed and EQ'd to fit into the arrangement/mix of the recording (which is how the vast majority of our audience will hear it) unless some very noticeable audio processing has been applied to the sound, they will all end up sounding pretty much the same.

We're obviously interpreting what you have written in two different ways.