Dood

Great thread! I actually came back to look at this as one of my students has asked about dissecting these sorts of bass lines. A personal influence for me (other than the obvious that I bang on about all the time) is actually Paul Gray who recently rejoined The Damned. Is playing is melodic and almost sings across the bass neck even when he's just holding down the low end. His playing is interspersed with melodic lines that reach up the bass neck, but never over play. First time I saw him play was actually with Captain Sensible's solo project. He rocked up with his 76(?) thunderbird and made that thing sound incredible. The band I was in played support and of course had a great time with the guys. Shame The Oval Norwich has long since closed as we had lots of great memories in there, but that's a discussion for another day! I love this track, Wait For The Blackout. But there are plenty of others to choose from!

Thank you @Jack and @Muppet, that really helps actually and no Jack, I don't think you made 'too much' of an issue. I'm just a fussy pants for the details. I appreciate the responses. There is, of course absolutely no doubt that the FR800 is a monster piece of kit . It may seem like I am picking holes, but that's really not the case. I tend to do that to everything I own, looking for excellence. The fact that you guys have come back and said that it's not a huge problem not having say a gain control in the real world means that I could probably live with it too. Sure, I'd configure the volume control on my Helix to adjust the onstage volume and leave the XLR's level fixed as I do now.

My thoughts exactly!

@Muppet @EBS_freak Thank you for the information re: cables. I'll save the link. With respect to gain setting and attenuators, I dunno... I'm just feeling a bit like it's a faff, a workaround. So yes, I would be intrigued as to what Barefaced might do in the future regarding the panel amps. Powersoft do DSP panel amplifiers so I expect Hypex would too. I've already sent an email to BF about the lead time on the FR's but as yet have had no reply. I expect they are busy with the new guitar cabinet products. I did suggest that BF should make an FR1600 - a Big Twin II with an internal amplifier. Alex did explain that it would be an expensive work around to change the internal cabinet structure to fit it.. Still, imagine what damage that kinda beast could do! (Yes, I'll have the DSP and gain control too please!) Failing that, I still would like to see what the high spec FOH PA cabs have to offer in the absence of the FR's. (Because of the additional connections available)

I’m a big fan of mashups, especially when they are done well. Seek out ‘Enter You’ (Run To You & Enter Sandman) also very good!

And Carl’s Burgers, a van that i’d often see parked up serving take away on the A11. I think they were actually served a notice to change the logo but they fought and won the case to keep theirs!

I had a message back from Brittany @64 recently who had suggested that demo models should be making their way over to our UK outlets, so maybe Paul at CIEM co will be getting some in soon? I'd definitely fancy the trek down just to hear them, even if my A8 are causing me much joy every time I slip them on! @64 Audio, indeed have a great show and I'll be responding to your email soon, thank you. Dood, a happy 64 Artist!

That is correct. They will work fine (usually) when placed in the effects loop of an amplifier 'head' or between a separate preamplifier and power amplifier combination. Or you could do as I have and use some sort of device that will boost your bass signal up from 'instrument level' to 'line level' then go straight in to the compressor that way, meaning it can be at the start of the signal chain which I prefer in most cases.

I've been trying to keep this picture quiet, careful, everyone will find out...

I used to love Beatallica.. A mash up of The Beatles and Metallica. There's a local band here who play punk songs on Ukuleles called The Pukes. I guess there's The Iron Maidens, the all-female Iron Maiden tribute. I do recall going to see The Lightness, a tribute to The Darkness, but I have to say they were light in all facets. Look, sound, effort and ability.

Trip to see our man at The IEM Company then!

Incidentally, to receive a stereo signal on the Fischer stick (two XLR's from the desk) in to one single XLR, it actually needs to be a special cable. I sent the schematic diagram to our very own cable genius @obbm who made me up said cable in a custom length. A normal XLR splitter won't divide the signal in to stereo. If the P2 is an exact, err, copy, then it's worth noting that their manual isn't quite right. They suggest using an XLR to TRS cable and switching the P2 to stereo is enough to receive a stereo signal. Rarely the case as I can't think of any digital desks that can switch from a balanced line XLR to unbalanced stereo XLR configuration on one single socket. In this case I would actually suggest they include Dual Female XLR to TRS (unbalanced stereo cable) as an option as these are more readily available than the custom cables from Fischer.* *Will happily be corrected if Behringer haven't completely copied the design.

Hmmm, Internationally based Cinematic Prog Metal..err Orchestral Prog.. Umm Cinematic Orches.. Yeah.. that

Further to my last, as they say. Just found a snap of my 7er.

Many years ago, a bass chatter actually worked out that the dots form a sort of scale.. a weird one mind, but that wasn't the plan. Both my 7 and my 6 string have the same inlay. I guess you could call it a single strand of a DNA helix. We originally planned (or rather I had the crazy idea) of having a complete DNA design across the fretboard. but it just looked daft. I guess we had the same view as Josie is having about LEDs in general. It was just way over the top and from a distance made no sense whatsoever. So one single thread winding down the fretboard ended up being a way more tasteful and stylish addition. Interestingly, the original design that started life on my 7 string was made up of clear blue dots. It looked understated on the massive bird's eye maple fretboard. When I came to commission the 6 string headless, we went with the same colour scheme, electronics, everything so I had a 'little sister' to the big 7er. However, unbeknownst to me, Jon Shuker was hatching a plan. A very thoughtful and kind gesture which he surprised me with when I went to collect my six string. Somehow he'd managed to keep secret that the blue dots were not blue dots.. Imagine my surprise when he flicked up the switch and my new fretboard lit up! I don't have the LEDs on all the time. Sometimes they go on just for fun and that's what they are for. No big "hey look at me" moments or ego boosts needed

Apologies for not replying sooner! I have to say that you know what, you're right. Your cabs etc should have plenty of bite. I'd give EBS_freak's suggestion a go! (The TD650 is one of my favourite amps)

That's a shame! I've just had ten minutes just to muck around with mine and I am finding that I am getting closer to the sounds in my head than ever before. Sure, I'd love HX FX to be able to do all of that so I can have an even smaller box to gig with, but this thing is making my life really easy. I'm becoming more comfortable with using Line 6 Native too, so I can take my recorded sounds out with me without too much fiddling. Stick with it a bit longer maybe Nick? Will you still be working on those extender buttons or anything like that?

It would be entirely possible, but not in this case.

Try this one. Maybe Instagram images don't show, hmmm.. can anyone else see it?

Any excuse, here are mine:

At a total load impedance of 1.6 ohms I wouldn’t recommend it with these kinda amps

Hey isteen, I think the classic can do top end, so I’d ask what bass/cabinets you are using with the EBS? Could help in diagnosing where your sparkle is