dannybuoy

Because not all flagship basses have individual bridge pieces, I think they're in the minority. I assume the BBNE2 has them because Nathan East asked for them. They're not expensive either, the ones I've seen worked out cheaper than a regular bridge!

Also to do with the fact the J is really powerful, mine is even slightly louder than the P the way I have it set up!

Definitely try a 1024 if you get the chance. They sound very different to a typical PJ with both pickups engaged.

Can't think of a reason why it would be crap! The XLR out has the top end rolled off so it sounds great direct to headphones or PA.

I'm tempted to get one, but also tempted to just get a HX Stomp, try my AO in the FX loop and use the Helix routing to handle the crossover and compression! Having everything in one box with easy you reach controls though is definitely a boon.

The issue with bass use is the increased wattage needed. This one is a 75W guitar amp in a pedal: Crank that to 500W and you'll need to add a fan, make it bigger, etc. Still it could be done, just look at the size of the Trace Elf!

Yeah, I agree on TC, they have kind of drifted into the discussion purely as a result of dropping their prices. They are one of the most innovative ones out there, just look at the Toneprint tech. I think Hotone and Mooer started out with simple clones but have brought out more advanced stuff since then. E.g. Mooer cloned the EHX POG with their Tender Octave, I can only assume EHX must have proved they reverse engineered it and threatened action, as they discontinued it when it was one of their most popular products. A couple of years later they brought out a Pro version with now features and a new mini MkII, so I guess they figured out how to do it differently! They have a few other digital pedals that look like unique creations too. Hotone have innovated quite a bit, they make the tiniest full tube amps going, even have full guitar amps in pedal format, and quite a bit on the stall modelling front.

Interested to see how well this turns out: http://www.hotoneaudio.com/news/297.html

It is this way with some brands (e.g. Donner, AM Moon), you even see the same pedal rebranded several times. But a lot of them are seriously upping their game. Mooer, Hotone and TC have some really unique stuff. Hotone are about to release a Helix competitor too, that should be interesting!

If you refer to an XLR cable, 99% of the time it has a male XLR at one end and a female at the other. Or an XLR extension cable might have two males/females at either end. Once you start adding 1/4” jacks to the mix, I would start calling them TRS Jack to XLR cables. But yeah, you just need to make sure the cable can carry two signals and you have the right plug on the end, whatever fits your gear!

I can understand the pain point when a soundman hands you an XLR cable rather than a DI box and you have to fish for a dongle. But if you own everything including the PA, there's not much to worry about, you carry a standard kit to which you either add an adapter or just swap your XLR cable to a TRS-XLR cable. It is a valid point and it's good to air your discontent so that Line6 take note, but I wouldn't let the omission of XLR put you off trying and buying. For example when I bought a tube amp I just accepted it didn't have speakon outputs and bought a new speaker cable. If I had been firm and said I'm not interested because it didn't work with my existing speakon cables, I would have missed out on the experience of owning one.

Just because there's bound to be one of you that will buy this and wear it to work! 😁 https://ebay.us/ALaEgV

Cheaper than a MM Bongo I suppose.

#1 Timing. You need to lock in with the drummer, and pay attention to note length as well. I've heard tracks ruined by the bassist playing short syncopated notes when they would sound better held longer, or vice versa. Also don't go for flashy fills if it means you lose the groove. #2 Variation and a good ear for what to play and when. Sometimes you need to play exactly what the guitars are playing, sometimes you need to pound root notes, sometimes you need to outline the chords, sometimes you echo phrases from the drums, guitars or vocals, other times you just play something totally different.

I have the Hotone Bass Press. Sounds like a wah should! The Dunlop sounded more like a synthy filter vs a wah, I got one in to compare and it got sent right back!

Sounds good! Is that recorded with the VT Bass?

How is that LS-2 being used with the Meatbox exactly? You might be able to do away with that too!

XLR would be nice but it's not a deal breaker. Buy an adapter for a fiver, chuck it in your gig bag, done.

Line 6 said it would have increased the footprint of the unit and they wanted to keep it compact. It does have stereo outs though and the outputs are balanced just like the XLR output of a DI, it just uses a different plug. So a good setup would be to split the signal routing to left and right channels, apply an amp/cab sim to one side destined for the PA, then use a TRS jack to XLR adaptor on that output and you're golden.

From my experiments with Native, I got some good results from the auto filter, but not as good as the filters I had already. One of my favourite filters is the Z-Tron on the B3n btw! This is a very useful post from Talkbass:

That wasn’t exactly my point, although compression can definitely help even sloppy technique and I’m not afraid to admit that I can sometimes need that! Digging in yields a totally different timbre to plucking gently. I also like to use that technique where the fingers strike down on the string to make it bounce off the frets, similar to slap but using the fingertips. Compression lets me express these different tones at a consistent volume. The biggest thing it brings to to table for me though is increased punch. Think about it like this - the compressor reacts to your incoming signal after a slight delay to reduce your volume. Then the overall volume is boosted to compensate. This means that for a fraction of a second, the initial attack is in fact louder than before as the first few ms are unrestrained. The attack is reshaped to become more percussive like a drum. You don’t hear the note as louder but it packs a more visceral heft! Multiband compression means you can apply different settings to the frequencies you can hear vs the ones you can feel.

Using that logic, how you smell is not on the list, so don't bother showering before the gig as the audience probably won't notice! But seriously, you have balanced sound at #3, compression helps there. Compression helps every note be heard and felt with equal punch, letting you dig in to get a different texture but without an accompanying volume spike (actually my main reason for preferring multiband, a single band comp can rob your low end when you dig in hard). It definitely helps get butts wiggling if you ask me, even if playing something simple like straight 16ths. The way that a compressor shapes the attack by letting the peaks through before clamping down just does something - I know I can tell the difference and it makes me want to move more!

I would say yes as long as you have a volume control! The main input expects an instrument level signal. I've run things like a Tech21 VT DI and DP3X into it no problem, but I've set them up so they are around unity gain when on/off. You might get clipping if pumping in a really hot signal, but I have boosted into it quite hard and not heard any obvious clipping before.

I feel the same after upgrading my Cali CB to a Spectracomp. I can really notice he multiband when I dig in aggressively and it’s reigned in by the upper band with a fast attack to catch the peak, yet the low end still pulses, with a slower attack to accentuate the thump.