Dood

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'.

Yes, absolutely spot on!

Really simple! So the drive pedal is the absolutely superb Billy Sheehan Signature Drive Deluxe. On the face of it seems like a fairly simple pedal, but it allows blending of driven and dry tones, but also by careful use of the tone control (which is more like a swept EQ than a treble attenuator) and the phase switch, you can get a wide variety of tones from 'peaky mids' to a scoop at around 500hz. The drive channel has an HPF built in to it already too. The compressor on board is also infinitely adjustable internally too so very easy to emulate that valve amp compression. There's also a boost button for extra bite when you need it. The IR I was using was sat on my Helix, but you could absolutely use the Mooer Radar to load your IR of choice. Or, if the budget doesn't stretch, I recommend the Mooer Micro DI (I actually have a Fender rebadged version) that features an EQ curve that sort of sounds like a 4x12, yet there's no bass drop off, so works perfectly for us bassists too. I do also have a micro EQ pedal that I have used a hot glue gun on to set the knobs in a specific position, but I've found that I am not really using that. The whole lot goes direct to PA as I am on IEMs virtually all the time now.

He’s standing in front of a cabinet with rubbish dispersion. The backs of his knees are getting a great volume, but like everyone in the audience it will sound sharp and scratchy. He needs to move away from the cabinet and point the cones upward directly at his ears. its a common complaint. Off Axis, I.e stand above the cabinet, you will hear less top end and clarity. Guitarists will crank the top end, gain and ultimately volume to compensate for these shortcomings. It will start to sound nice where they are stood, but the volume and top end will be searing to those in the audience and on the other side of the stage, on-axis with the speakers.

That would be a combination of technique and equipment that would need to change for your drummer to still, ehem, have so much fun. And let's face it, there are many, many who don't like to be told to change either the way they sound or the way they play! 🤣😂

It totally is! I'm very lucky to work with some really talented drummers and my 'function band' drummer knows how to set his kit for tone rather than volume. He has also played (like me) in metal bands and used a different kit accordingly that was better suited to keeping up with big stacks and crazy bass rigs!

Yes indeed missed by many a band. One huge problem is with certain musicians who are under the mysterious spell of thinking that things only sound good when REALLY loud. "My valve amp sounds better cranked" and "I can't get the tone out of my kit if I play lightly" I have heard oh so often. Thing is, I agree that certain equipment does indeed sound awesome loud, but are totally overkill for 90% of gigs. That Marshall 100W and 4x12 cabinet doesn't start to do that beautiful compression characteristic until the valves are working hard and the speaker cones are near their limits. By that point, the volume is tinnitus incurring. So, for the most part, that kit is the wrong kit for the job at the Dog and Duck on a Friday night.