dannybuoy

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.

They are brilliant. More output volume and less noise / distortion then any other headphone amp I've tried.

Line 6 reps have said on Talkbass that a Sansamp model is on the way.

I think someone’s got the wrong end of the stick. As far as I can tell the HX Stomp as two independent outputs both with TRS balanced jacks. When I referred to splitting the signal I meant within the software routing of the unit itself rather than physically splitting cables. So send the left output with a few effects to your amp, the right output with an amp/cab sim added direct to the board, via a TRS to XLR adapter if the soundman passes you an XLR lead.

Since it has stereo outs and not many bassists need actual stereo, you should be able to split the signal, pan it hard left and right and apply a cab sim to one channel only, and use that as your DI.

I get that you would need a separate DI if putting other FX after it, but @Sibob seemed pretty insistent that the built-in balanced outs would be unsuitable going straight to the desk, so I was just trying to work out why, 'tis all!

I still don't think a separate DI is necessary if you can make use of the stereo outs or sends. The output is balanced so all you need is a TRS-to-XLR converter if you want to use the XLR leads that are probably already on stage. If you can adjust the volume and flick it between instrument and line level, that's pretty much all you need. What will an additional DI box bring to the table? The only thing I can fathom is perhaps a signal pad, if the instrument level output is still too hot for the mic input on the desk and the desk can't take a line input. But most desks have pads / trim controls on them anyway.

Most DI boxes just output the same volume level that goes in. Never had an issue sending an instrument level signal via a standard passive or active DI to the board, it's more commonly expected than a hot line level signal.

I had one of those modded for more low end as my first bass overdrive. Great pedal, replaced it witha BB Preamp although if I'm honest I might have slightly preferred the BM!

Pretty much! Although I run mine into another headphone amp (PJB Bighead) as I find the Zoom doesn’t drive my Beyerdynamic DT770 cans as loud as I’d like. But it seems I’m firmly in the minority there as it’s plenty loud enough for most people around here - either those cans are particularly hard to drive or I just like it stupidly loud!

Both models have a headphone out. Only the B3n has an aux input, but on the o5er hand the B3 is a USB audio interface so you can pipe in mp3s or backing tracks by hooking up a laptop via USB.

I think the newer ones are definitely more Fender-like due to the alnico pole pieces rather than the blades, my BB1025X though with both pickups on sounds unlike any Fender PJ (I’ve tried about a dozen of them!). The BB is way growlier!

Heads up, Gear4Music have a PF-50T for £349!

If it’s just octave down you’re after, is Ba Octave no good? I thought that one worked pretty well on the B3n, a pleasant surprise as my recollection of all the octave and pitch effects in the previous generation Zooms were that they were all terrible.

Drive rolls off highs and lows and adds distortion dependent on the gain level. Don’t be afraid to roll your mids way back when using lots of drive, it’s a great way to get Sansamp style modern rock sounds. It took me a long time to discover this, having it drummed into me that bass needs mids to be heard. But with the drive up, the treble control morphs into more of a high mids control so you can boost it without getting that shrill high end. With the mids flat or boosted the drive gets very woolly which is great for blues/Motown type stuff. A very versatile amp!

Try before you buy. Helix Native runs on PC and Mac and has a free trial. All you need is an audio interface, and you can probably use your existing POD as a clean audio interface. Give it a go and see if you think it's worth the extra!

I've had two Orbits. The original had no blend but had an additional switch that let you get cool 303 like laser sounds as in that demo. The later one added a (much needed) blend but lost that switch, so it doesn't have the same array of sounds!

You'd have to check the manual but I remember reading that you can flick it over with a long press, so the footswitch is optional.

There are other ways also you may be unaware of. I believe you can flip the unit between red and green LEDs by pressing and holding the footswitch to give you 6 presets with no extra MIDI pedal required? Also, more restrictive, but if you aren't blending drives in parallel you can set up different drives on the left and right channels and use an A/B box to flip between them.

The Diabolik is definitely gated. It's what I would reach for if I ever needed a synthy/gated fuzz, so I hang onto it! Only used the iPad editor I think with the Source Audio stuff, but I think it has pretty much the same features. It did excel at fuzz sounds, particularly if you blended a distortion in parallel to give it more bite. There's nothing in the Helix that can touch the Mosaic btw. Yet. They have hired some polyphonic pitch shifting geniuses and promised improvements in that area, but right now that's one of its weak points!