Dood

As ezbass says, yup no problem. For 16th note grooves check out Bobby Vega’s plectrum work and more recently Cody Wright. If you wanna check out handy bass work of a higher tempo, then Dave Ellefson sorts out the men from the boys he he!

I read an interview with Steve and he did mention that the EV’s didn’t do deep lows, true. That was certainly my understanding of the EVM12L too. I’d be interested to find out what the likes of Kevin Shirley et al chose to capture the tone. There are certain classic combinations I suppose and I’ll certainly just experiment here in my virtual world for fun, but ultimately just curious as I understand the variables involved with capturing a sound in a recording.

Anyone know off hand what mics are used and placement for SH’s EV loaded Bass Cabinets? Its proving difficult to find out! The rest of the signal chain only took 2 minutes to find out!

He he he he! That's brilliant!! If I do, I'll endeavour to credit you!

It's daft isn't it? I mean, my keyboard player uses an "88 key Piano weighted controller" for every gig along with a second synth on top. I don't think anyone has ever complained because she wasn't using the high notes all the time or has too many keys!

Yeah, but band members even forget that the bassist themselves needs somewhere to stand! There's one gig I particularly don't enjoy where I have so little room, if I step backwards I get the keyboard player's mic stand in my back or a step forward means I am resting my nuts on the hi-hats. I wish I were joking! - I have up bringing my amp as I had to balance everything on under window seating. Precarious to say the least!

I'm afraid it's not the same one my buddy! I sold mine to Frusty and tried to buy it back last year ha ha!! Unless he ended up selling it, mind! That said, anyone who has one of these will LOVE it

No worries! Hope it works out alright! Be gentle though.

I, like the sellotape method mentioned above, use a small bit of tape, gently push it on to the centre of the dent then gently pull the tape to hopefully pul that dent out. It's worked every time for me anyway!

lol, I've not owned any feeler gauges since I used to do the points on my car's non-electronic ignition - When I was 18!

Playing live, gigging, performing and losing oneself in the musical moment is my therapy and lord only knows I've needed it this year.

I can offer my own experience (which may differ from everyone else needs) in that I have LT and actually bought HX Effects to give me a smaller set up. Yes, it was utterly brilliant and I loved it, but ultimately, LT won me over as there was a few things I missed. Then I actually started to learn how to use LT and realised there was so much more on offer that I hadn't tapped in to. So, Stomp would be a great little dude to use for smaller set ups. Full-Fat Helix would be a nice to have but I don't know yet if I need the extra functions it offers. LT thus sat nicely within budget and needs. (Thank you 24 months interest free credit that I have just finished paying off!)

It's true actually, I've been having some really weird problems with my profile for months now. If I add to someone's post with a picture, every time I reply afterward, the picture will keep getting added without me knowing before I hit 'post'. So I have to edit the post to delete the picture. Hence why nearly all of my posts look edited!

Ok, I'm back. I guess it's all about application. I think for the most part, yes you are completely correct. There's lots of tone tweaking available on the Helix range of kit that to a certain extent, you could just plug in to a "flat" amp or power amplifier and out to your cabinet. Though for me I think for that to happen, unless I was just heading for the plug n' play route, the Stomp might leave me short of suitable processing slots per patch. That said, the inclusion of the SVT 4 Pro Amp alone will save me possibly two blocks in my own LT patch set up. It's that good. So, my B|Amp and cabinet combination is, I suppose doing the job of say the RCF 745 (or NX45 which I would like). It is creating a tailored response system, which interestingly isn't designed to be flat response, but certainly is full range enough to deliver my monitoring needs. On to which I can add amp sims etc from Helix if I want and I know that the two will play ball nicely. Personally I don't use cabinet sims on my Helix at all, even out to PA, but prefer to rely on a method I have been doing for 20 odd years now which relies on mapping pre and post responses using EQ instead. It is terribly geeky and, given that technology has gotten so good these days, the curves I use now are positively mild in comparison to what used to sit on my "twenty-four-band-stereo-programmable-digital-rack-equaliser-madness"!! Heading away from topic, I apologise.. How I see it is this - the Helix is it's own system, the backline has it's own configuration. Our PA system has it's own set up. I don't use the Helix to make up for shortcomings in the PA and I don't use my backline to be part of Helix's tone creation. What this means is that I can take my Helix to another PA and I know that the sound that is being sent to it is going to be absolutely fine for the engineer to deal with. I haven't added anything too crazy because another PA required it etc. The engineer will hopefully know their system well enough to reproduce what is coming direct from Helix. This also means that what comes back to me to my IEMs is exactly what is coming from Helix and I know what to expect there too. Whilst I was typing this, I realised that I could have summed this all up more quickly in the words of Jim Bergantino from @Bergantino Audio - He talks about "tone producers" and "tone re-producers". For me it is the job of the Helix to be a tone producer. It is where I craft the sound that I need for songs or genres etc etc. The PA should be a tone re-producer. It faithfully recreates what is being sent to it taking in to consideration the environment in which it is to be used. Finally, although B|Amp is a very capable tone creator, having programmable drive, EQ and compression on board, I have hopefully set mine up to also be a re-producer, but, like the PA analogy, B|Amp will get tweaked for the room, stage, environment leaving Helix well alone. Phew, I really hope that all makes sense, I'm literally on my first coffee of the day! Oh.. and finally, in the absence of Helix, I chose B|Amp (amongst many other reasons) because it's programmable nature means that I can use it alone without Helix as a "tone producer" then at a touch of a button it becomes a "tone reproducer". I'd just add that currently, due to the stage set up my current gig has, I am often on IEMs, just in case that's of any help.

I’m surfing BC instead of being a responsible adult.. I’ll be back in a bit with a decent reply... I’d still have both in certain respects but it might not apply to everyone.

I feel silly for not reaching out to BC in the first place! I'll start a new thread when I have my set up functioning properly as there's lots of things I wouldn't mind trying out. I'll invite ideas and maybe have a chat with @ped about material we can do for the BC community.

Because you're more likely to have a plectrum laying around? He did clearly say that the videos were about getting things done with the least amount of extra tools!

I've just created this post: And have asked if we can make it a sticky

Prompted by a post elsewhere on BassChat, I replied with this link to a set of very helpful videos by @Sheldon Dingwall. I am reposting here in the Repairs And Technical forum and will ask to make this a sticky for future reference.

And here's my good friend @Sheldon Dingwall from Dingwall Designer Guitars to answer those questions! Playlist:

I think that would make a great topic as a sticky on BassChat! Some really good detailed explanations share in one thread.