Dood

Get in touch with Marshall who service Eden kit as they own Eden. I ended up doing the same and even on a non -warranty I ended up not having to pay a great deal. They also arranged all of the shipping too!

It occurred to me, feeling rather daft, I could just message Frank at Line 6!

Bergantino sell direct in the US as a ways and means to attempt to help keep the costs of the products down. (Similarly Bergantino do not have an artist endorsement program, they do not give anything away, so the 'average Joe' doesn't have to cough up.) They do have shops selling Bergantino equipment in the US but of course they don't have the problems with VAT and customs and all that jazz we have here with importing US gear. Bergantino do want to have a UK outlet but the nearest we have at the moment is Bass Buddha in Denmark owned by the rather awesome chap Morten Ehlers. On the subject of whether or not he's great to deal with, I have to say that I have had the opposite experience. Friendly, keen to share the knowledge and has even sent out an email just to see how I'm getting on with my amp! Oh, the B|Amp software updates he sends out personally! Knowing that actually Bergantino is a reasonable small family owned business, I can imagine (actually I do know) that at times Jim is putting in long hours. Maybe you'd just caught him on a difficult day? I want to let you know that for whatever reason, I think that is a rare experience you've had. He's a good guy I think.

I guess I will need to, I'm off to youtube for some moving pictures in the meantime!

You have nailed the reason for asking. The specs and reviews are all very good, but the 745 is ugly as sin lol lol.. it's like something that fell off the Lockheed Blackbird

It's interesting as I'd heard examples of the old S2 switch on past Precisions and felt that their pickup choice didn't seem to suit the function, whereas this sounds way better by comparison. I'd put it down to the qualities of this pickup. (The S2 is great on jazz basses).

I have a question for those who may be lucky enough to have both HXFX and Helix (/LT) My assumption is no, but is it possible to port a preset from once device to another and for the most part, it will work even if button selections/configurations wouldn't come across? I have (or intent to complete) having a copy of all my LT presets in Helix Native. I was wondering how easy (rather than create from scratch) it would be to have a mini rig based around HXFX and still have some of my core tones available by copying from say Native or LT's banks.

WOW! Thank you, perfect! - I've just been A/Bing both through big studio monitors and yes I can hear the differences.. Sounds great up LOUD! Thank you so much! Nice playing

@EBS_freak do you have any thoughts regarding the RCF 745 vs the 4Pro ranges? (Other than the comparable weights!)

Scumbags

I would love to hear the tonal options! (on Roundwounds .. I know... sorry lol) But I love the idea! I'm not expecting to hear much volume difference between the two as the coils are looking after different strings, but tonally I am intrigued!

Yes, that's really rather lovely!

Thank you!

Knowing that the presets are editable is a selling point for me, but it will be a faff as the editor is windows only and I'm a Mac users ha ha - ok, so I do have VMWare that I use a lot, so no big really... but still.. maybe an iPad app from Hypex would be a great addition!

Hi folks, yes, the point have been answered before I couldn't get back to the forum for a read. Yup absolutely, I don't have anything negative to say about the FR's but those two points will mean I'll need to bring other stuff with me and I;d rather not as the idea is to travel with as few items these days as possible lol.

I appreciate your insight on the subject. I'd not thought about that if I am honest and that is something that will mess with my tiny mind quite a bit. Tonally, it's not as if I could just use the volume control on my bass via some pedals either as I use that as more of a saturation control when I am using drive pedals in to amps sims. This is something to think about.

Well, the Barefaced FR800 would be the natural choice, I did end up having a couple of questions about that particular model. I don't think they have neutrik combo input sockets for XLR or 1/4" leads. I'm also preferring a gain control on the panel too, should I wish to daisy chain cabinets or in cases where level adjustment on another device isn't easy. Everything else the FR800 is suggested to deal up in spades and as I am familiar with the Big Twin II and the Big Baby II cabinets, I know what I should expect from them.

Having just sold my passive FRFR cabinets, I am hoping to soon join the powered FRFR collective! Exciting times ahead I am sure.

Yes, the band are doing really well after I left 😂🤣😂

Rick is a great educator. I love watching his videos along with the likes of Adam Neely who is just insanely engaging!

Oh yeah! I remember doing a gig where we had a young support band. The guitarist turned up with a little amp and a well beaten up zoom pedal from yesteryear. He plugged everything in and took his first chugs on the guitar in soundcheck. Me and my keyboard player just stood there with our jaws on the floor. This teenager, rocks up with his kit that he has saved like mad to buy and decimates everyone with a guitar tone to die for.

Second point first, yes I totally agree. The Blackstar HT5 models for example are just superb, Even the onboard 12? Watt output of the Laney Ironheart preamp is plenty loud enough for most stuff to get that power amp drive going on too. First point, yes, modern amplifiers are capable of a wide range of tones and in theory that should be enough. However, old amps were designed to play loud., They had to be as IEMs didn't exist and on stage monitoring certainly didn't afford the quality of foldback sound (and power) that was required to do the job. There is indeed absolutely something extraordinary that happens when you take a 100W valve guitar amp and take it up to the point of ear splitting volume. Marshall's were known for that point just around 3/4 of max where the power amplifier compression started to get involved and I suppose the Celestion speakers of choice started to compress too which had a natural smoothing of the over all tone. Touch sensitivity becomes, well, more sensitive (ha) as well as natural feedback being easily attainable. I suppose a sort of paradox that to play very, very loud, you have to have an incredible touch sensitivity, making you feel more in control of your instrument I suppose. I'll take the Vox AC30 as an example. It's actually only a 30W amplifier. I've been in front of Brian May's own VOX amplifiers and they just don't do 'that sound' at lower volumes. Yeah, they sound great but there is something exciting about that particular amplifier being cranked to the max. Yes, it is all part of the design and all of those foibles can absolutely be designed in to lower power amplifiers and thus those huge sounds can be reproduced at lower volumes. We're seeing really exciting things happening in technology. I love the Positive Grid applications that emulate those famous amplifiers. Stunning for recording (and also live use) as well as hardware devices such as the Line 6 Helix that is also a very capable tool too. There are thankfully plenty of guitarists who are embracing this tech'.