CameronJ

+2. If they were great cabs then you'd have probably been able to tell fairly quickly, even if the EQing was a bit off.

[quote name='dannybuoy' timestamp='1507235287' post='3384198'] Just buy all the octavers, Al. [/quote] [quote name='Al Krow' timestamp='1507235850' post='3384206'] Hah! No point when you and Cam already have [/quote] Sad but true

The Aggy is back on my main board! I was foolish to stray from my first love As a side note, I've found that the solo octave tone on the Digitech Bass Synth Wah sounds [i]very[/i] Octamizer-esque but with all the benefits of digital, flawless tracking.

Palm muting is a skill that still escapes me! Mainly because I never play with a pick, but still...

[quote name='chris_b' timestamp='1507205309' post='3383897'] You will end up with the thumb moving automatically. You won't even think about because your focus will only be the note you are going to play. [/quote] +1 I'm kinda halfway there with this but I am getting better at it no doubt. It's kind of a situation where the less I think about it the more I find myself doing it naturally but once I start thinking about it I trip myself up! Baby steps...

[quote name='dood' timestamp='1507133966' post='3383556'] 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.. [/quote] I was actually considering the Hartke switchable 112s a while back but after a bit of research discovered the pretty large downside. Its method of impedance switching basically means that there's always a "dead weight" voice coil not being used. Alex basically said that he wanted to avoid this, as much of the wattage benefit you may get by switching to a 4ohm load using this method is negated by the decreased efficiency of the cab due to the added voice coil weight. Or something like that.

+1 for the Digitech BSW.

A handsome pairing indeed! What was your previous rig?

*sigh* This has only fuelled my recent GAS for a Two10.

The complaints aren't coming from a place of wild jealous bitterness - they're coming from the reality that the prices of these cabs, when compared to some of the fantastic innovative products other manufacturers are producing, are objectively comedic. Whether someone can afford the, or not isn't the point. There are plenty of people on this forum who could afford them but would rather spend their cash elsewhere knowing they're getting far better value for money. It's a basic 2x10 and a basic 4x10. Sure they look pretty but as far as I can see, that's about all there is to separate them from the (very) stiff competition. If there was anything technologically groundbreaking or even, at least, technologically COMPETITIVE about them Darkglass would be shouting it from the rooftops as a big selling point and we'd all be rushing to our nearest dealer wallets in hand. All they mention is a passive, fixed crossover. Apparently it sounds good with their distortion pedals. Here's an analogy: Mercedes, Jaguar and Lexus all have a solid reputation for making well made, high performance cars. Imagine Garmin, who are known for making quality GPS navigation systems and have a large user base, decided they were going to release a car of their own under their own brand and outsource the production to a third party (let's say Ford). Imagine Garmin's debut car has a gorgeous paint job and body shape comparable to a high performance luxury car but with the same chassis and engine as a Ford Mondeo. It's perfectly reliable, it performs to a decent standard and is more than capable of getting you from A to B. It may even be fun to drive. Garmin claims it's been specifically designed to work well with their GPS systems. Now imagine Garmin decide to price their untested and on paper quite ordinary debut car at the same point or higher than Mercedes, Jaguar and Lexus have priced their top of the range models. In this scenario money is no object for you. Do you buy Garmin's car simply because you can afford it? Do you claim that others who argue the greater value in similarly priced luxury vehicles from tried and tested manufacturers are unreasonable? Somehow I suspect in this analogy Garmin would quickly become the laughing stock of the automotive industry.

[quote name='fretmeister' timestamp='1507055709' post='3383096'] The Tecamp Puma 300 in the classifieds and a Barefaced One10. Very light weight and sounds great. [/quote] Yep. That'll sound lovely.

[quote name='BigRedX' timestamp='1507033062' post='3382851'] When I add up the value of all the gear that I currently have that could potentially be replaced by a Helix, it would almost pay for itself. [/quote] If I were to sell my existing gear, I'd probably have enough for a Helix and a powered FRFR cab with change left over! I'm seriously considering it...

I've been wondering about these myself. Very few sound demos online though. I'm gonna pay a visit to Bass Direct towards the end of the month and have a play on one if they still have one in stock by then. They had a red one and a black one a while ago but the red sold recently!

[quote name='Osiris' timestamp='1507028656' post='3382798'] Everything is quiet as a church mouse with my set up (bass - Boss tuner - Spectracomp - amp) using the MuscleComp TonePrint. Have you got anything else in your signal chain that might be causing the noise, or causing the SpectraComp to amplify the noise? [/quote] I have an A/B input box that lets me switch between either using a cable or my Smooth Hound Wireless. So my chain is bass>cable>A/B box>Spectra OR bass>wireless>A/B box>Spectra. Either way the hiss is present on certain presets. I only really notice it through headphones via a Phil Jones BigHead though. When playing through speakers it's much less noticeable, though still present. Having read up about the TonePrint settings on the Spectracomp, it sounds like a setting called "Auto Makeup again" could be the culprit.

Dood, you may have just done a terrible thing and ignited a small ember of Helix GAS here...

I have a Spectracomp myself and for a very long time used the MuscleComp TonePrint...but it always annoyed me that when engaged it noticeably amplified any hiss/noise. So the other day I went through all the TonePrints with a fine toothed comb to find any which didn't suffer this hissue (see what I did there ) and landed upon a few which fit the bill. My new favourites are now "Hold My Neon Mule" and "Born Again Compressor" which is Nik West's signature print. I like it. HOWEVER. I've been searching for a compressor which will give me serious sustain (for my synthy FX chain) and came across the Pigtronix Philosophers Tone/Philosopher Bass series of pedals. I much prefer the Philosophers Tone Micro as it's the same size as a Spectracomp and will slot right in its place on my board - but has anyone had any experience of it on bass? Logically, the bass specific version is probably better suited to bass frequencies but it's a larger pedal. Anyone tried the Micro??

The tragic truth is when I got my Polytune clip soon after it was released, it cost me about £30-35...

Good work!

I have to say the Aftershock is an absolutely killer pedal and the tweakability options are vast, though if you're a set and forget kinda guy then it excels at that too - there's not actually any need to get into the editing software/app if you don't want to. Source Audio customer support is first class too so if you have any trouble you're in safe hands. Check out the Source Audio threads (there are a few) over on Talkbass as no doubt any query you're ever likely to have has been answered there already by SA staff or endorsers.

Yep all my cables are Velcro cable tied. Since I am the only one of my musician friends to be OCD enough to use them, it's easy to prove if a cable is mine or not!

I agree re: coloured cables not looking good on stage. But if the choice is between spending £30 on new cables or £200 on a new wireless system, I know which one I'll choose. Fair enough about the visuals though. Routing cables the long way might be the best compromise here in that case. If you have a decent buffer in your signal chain then the potential signal loss due to cable length can be negated.

Is your singer unable to look where she's walking? Surely the rest of the band shouldn't have to spend money on a technical solution when the simplest and easiest workaround is for your singer to have a bit of spatial awareness. If you play on particularly dark stages then maybe use lighter coloured cables or tape them with fluorescent tape. Any more effort than that is lunacy.