Dood

Quick tip: If you rest your thumb on a pickup or a string, don't let it support the weight of your arm/hand. It should be touching, resting and firm enough for your finger to pull back towards only. Though the tendency is to then rest your forearm over the top of the body and dangle a hand down on to the strings. Don't do that either

Hopefully your teacher has explained clearly the reason for doing this and any advantages or disadvantages to the technique?

Too many. I keep feeling that I shouldn’t have so many. Not that I have as many as most of you all.

On a side note, regarding switching impedance in speaker cabinets, Hartke have also successfully switched the impedance of the actual driver in their HX112 cabinet. The driver has [i]two[/i] coils in it. It's just a case then of using a switch on the back of the cabinet to bring in those coils to change the cabinet impedance from 8 to 4 ohms. This isn't the way that Barefaced is doing it mind, but I thought it'd be interesting to mention. Nobody mention the Accugroove debacle regarding the TRI210L..

There is a crossover that will have some loading effect on the circuit. Taking the Two 10 as an example, only one speaker receives the full range signal (via the crossover), the other is treated by the crossover to sculpt it's output response. I expect that Alex is able to use the effects of the crossover on the circuit to assist in the switching arrangement. I've not seen the schematic to say for sure how it's working exactly.

Yes, brilliant, which was what I was getting at with the whole compressor thing above, but I didn't know it was something the POG2 had built in, so that's cool! Cheers

Turns out you won't be able to do that, as I've heard that you are an awesome bassist, bang on the money annnnnd I know that you know good tone too. I had seen some of your toys

I was actually due to release my own TonePrint for the BH800! - But the chap who used to do all the bass stuff left the company before it was ever released. We made the setting in a hotel room in London full of TC bass gear. It was quite a sight!! - Maybe it's something I could approach TC about again as I chat to them a lot.

It's a Shuker Singlecut that I designed with Jon Shuker. It's tuned in standard, F#, B, E, A, D, G, C from 182 to 30 gauge strings. The instrument is an interesting one as it can be set up and played like a Chapman Stick though at the moment it is more suited to standard bass duties. The neck has a pair of truss rods and four specially placed tensioning rods in the neck. Round the back, the heel finishes well after the 24th fret too, so it feels like placing at the 5th fret when you're up at 20. Lots of fun, sounds like a grand piano! When it comes to coping with the low end, well this is something that messes with people's heads a bit. There are practically speaking, no bass cabinets on the market that can deal with the fundamental frequency of the open F# string. Sometimes I'll tune down another tone for E below the normal E string, but I don't know when I'll be gigging that material any time soon. I digress. - So, the only place your gonna get that gut dissolving low end will be FOH out of the subs if that's what FOH want. On stage it's not actually a good idea. If I am using this bass then actually I switch on an HPF to keep the fundamentals out of the equation. It's too messy on stage and can also be a problem with keeping a tight sound, as much as it would be nice to rumble the band mates. The place to concentrate the punch is in the bass (not subs) and low mids which would equate to the usual place to find the note over tones. I also use pickups on this bass that have a spike in the lower treble frequencies that help to pitch definition. Finally my secret weapon (not so secret) is to use my favourite distortion pedal to add a little grit but in a band-pass region. It really brings alive the overtones on those low, low bass notes. Oh I suppose finally, those notes don't get used all the time. Sparingly is the best approach

Yup and what's interesting is that for me, although I need the octave to get down that low sometimes, it's not necessarily the most important thing live in the moment. What is isn't that the pedal can't get that actual note but how it treats the signal when it can't reproduce. Something I really liked about the SubnUp full fat - and I've not tried the Mini live yet, is that in Poly mode, if it can't track the note the transition to a 'dry' signal is so much smoother than many pedals I've tried. Now it may just have been the TonePrint I was using or it's the algorithm, but I hardly ever got any warble or those annoying artefacts that you get with analogues. Often people say that an analogue sounds warmer and the latency is less, but you know, I've got a way round that too and it's another reason why I prefer using this kinda pedal. I got the idea from parallel compression where it is possible to fool the ear that there is less compression than there actually is by mixing in the dry signal to take care of the initial attack. The compressed signal can have all of the attack removed entirely but your ear will still hear the impact of the first note. In terms of the Octaver, you know when there's latency when you hear a definite attack in the synthesised sound. So, in SubnUp there's no opportunity to remove the attack using compression, though it would be possible using a wet/dry pedal and a compressor I suppose, so the way I've done it is by masking the attack of the effect. Simply, your ear is more sensitive to high frequencies, so I've used the TonePrint EQ on the SnU to take the top end off the -1 Octave. As far down as 800Hz I think! Then I've added a low mid bump which creates the analogue warmth, or I've removed the very low subby end of things that accentuates the mids. Then, mix it just right and you get a really sweet octave sound which adds body, sounds warm but tracks like a beast!

I do have a low F# below B!

Yup, it bugs me too! The application can't refresh with the current TonePrint and thus you won't know it's name. Which is annoying as I make so many presets I can't remember what one I liked the best. So now I have to save them Dan1 Dan2 Dan3 and just go for the highest number!

Great questions! Ok so as above,I’m struggling to find time to really get in to my usual level of testing. I do for example own a latency tester ha ha!! Anyway, the Cali is an amazing compressor yes, but the triple band compression for bass guitar is hands down better. Thankfully there is such an option on Helix and it is very good. The 1176 model on the Helix is rather nice too and you’d not tell the difference when playing live. Initial tests suggest that although the pitch shifting tracks accurately and fast I think it might not track as low as SnU. But let me test that properly - and also take in to account that when I mean track low, I want to go all the way down probably lower than most people need. In that case you could say that these octavers are both exceptionally good.

That’s a very good question and if I’m honest I’m not sure. The HGm doesn’t have the option, it’s TonePrint all the way and I didn’t ever use the options on the full fat version because the TP was always the better option lol

[quote name='radiophonic' timestamp='1507026413' post='3382769'] The lack of on the fly control is the one thing that puts me off the Spectracomp. That said, I will almost certainly get one and already would have done so if I hadn't spent insane quantities of cash on pedals this year. [/quote] I'd thus recommend the HyperGravity (Or HyperGravity Mini) which brings three knobs to the party. I have both the SC and the HGm here and I really like them both, though I am messing with the HGm to decide what I want the controls to be mapped to. So far it's Threshold for the three bands and a wet/dry parallel mix knob. The third I might adjust the gain of the low and mid bands to add some extra rumble

[quote name='lojo' timestamp='1507034860' post='3382888'] Ok silly me , song sounded the same on my phone In my defence I've got Chemo brain today [/quote] Fair comment actually, it did sound a bit like one long song lol Wishing you well Lojo, I've just spotted your signature too. Saying 'Hope you feel better soon' just doesn't seem enough knowing the effects of Chemo. I send my warm wishes and huge positive bassy vibes to help kick the Big C right square in the nuts.

I mainly use BIAS in my studio. Ive used it for recording bass and guitar on professional releases. I do have it on my mobile devices and that's usually for teaching or just jamming. The live stuff I am doing, at the moment at least doesn't warrant a need for it running as a plug in, but if I did I'd probably run it in MainStage off my Mac in the absence of Helix. That said, I have bought the Helix Native plug in and yes I do have Helix LT here too. The only reason why I haven't been using them (yet) is simply time. I've been so, so busy, the poor ole Helix just hasn't had a look in. You'd think as a professional musician I'd have lots of time to play eh! In terms of comparison, at this early stage it's hard to say. I think the stock sounds out of BIAS are better, simply because I haven't had time to tweak Helix. Although, the amount of people that reach straight for downloadable IR plugins for Helix verses BIAS would possibly be tell tale. The only IR's that I have imported in to BIAS are ones that I have created myself for example, to replicate my favourite guitar player's sounds. (Brian May's 3 AC30's for example is working out to be fun!) Helix modelling is very, very good though, there's no doubt about that and I will make it work because I needn't take a second device out with me when it comes to guitar duties. The hardware will take it though. It is a very powerful device, that's for sure.

Just sent some tuning keys over to Chazz. Nice transaction, no problems here! Great!

They are highlights of different songs? The title does say Highlights.

Here's the Helix used as an IEM mix controller:

http://www.youtube.com/watch?v=1d10tO2xMNE So in this case he is using buttons to select an audio sequence and this could indeed be a backing track, a pad, samples of random intro music. Being as the audio is in MainStage, well, you can pretty much trigger it to do whatever you want. MainStage is an incredibly powerful application that I have only just skimmed the surface of. For example, a fiend of mine who really is a wizard on keys dumped his multiple deck super system for a decent controller and a MacBook running MainStage which in turn also runs some essential plug ins. I use MainStage at home as an incredibly powerful teaching front end. One icon to click and I have songs ready with amazing guitar amps primed and ready to go (I use Positive Grid BIAS and BIAS FX Professional for amp sounds). Yes, he is able to start samples and stop them with the pedals and can even control the effects he is adding to his vocal microphone on top of using the Helix for his guitar tones. Each 'patch' you can save as a song name, thus the settings for each song are retained and there's so much scope for adjustment without leaving the patch. And that's what I have learned in a reasonably small amount of time and very little hands on time with the device itself. Fretmeister knows way more than I; he has certainly planted the seeds for my further study!

[quote name='MoJo' timestamp='1506893922' post='3381904'] 11.5k for the two halves in series. Strange thing is that I can't see any damage to the windings on the dead pickup or any breaks in the wires to the output. Weird [/quote] Not sure if you have tried this, but recently I repaired a USA Precision bass with no sound. It was actually the wire between the two pickup halves that had become snagged/kinked which had the break in it, not the pickup coils. Maybe run a meter over the cable lengths up to where they solder to the pickup first! It could be something as simple as that.

I appreciate that post does come across as gushing a bit, but if you'd seen the amount of rack gear I used to carry around to do the same thing... lol

£750 depending on where you shop - I bought mine on a 24 month interest free credit when it was just 700 new, so the purchase has pretty much gone unnoticed. Gotta love The Knock. Well, Two Notes use IR's and so can Helix (and my favourite modelling app BIAS or BIAS FX by Positive Grid) so the actual quality of simulations attainable are very good on the amplifier front. Very, very good. The tracking of the pitch shifting effects is also very good too and with some minor tweaking you can, as I have found so far, get some brilliant results. Any short comings are more than made up for by the routing you mention. You can run multiple signal paths, you can put effects in any order and daisy chain multiple instances of the same effect. Panning left and right or using the pedal to modulate between effects is great too. It's possible to assign one button to turn say three effects off and one on at the same time. It's possible to set up some effects (like an amp) as always on without a button, then use that switch for something else. There's a guy on Youtube that has demonstrated how to configure Helix so that the extra inputs can actually be used as an IEM mix as well, saving on having to have a separate headphone amplifier and stereo feed. All in one box. Another video I watched, a 'worship' guy used his Helix connected to his Mac. The Helix controlled MainStage to cue up specific backing tracks and allow starting and stopping of them via the pedal board rather than having to reach over to the laptop. - All at the same time as switching the sounds for his guitar too. I could go on, but the effects quality is brilliant and so are the almost endless opportunities for signal routing. With my IEMs I needn't take an amp with me at all.

[quote name='charic' timestamp='1507020756' post='3382703'] Now all we need is for wireless send and receive in a Line6 Helix board (hoping in V2!), theoretically they could go wireless bass to board and wireless board to amp. [/quote] Or at least digital I/O between wireless and LT which would keep the latency down.