krispn

The eq of the pedal changes with the AGS mode engaged and therefore really needs to be heard/manipulated in context to fully understand what's going on. It's the interactivity of the controls rather than simply pooling the mids out at a particular frequency. I think it's more a case of it's the sum of it's parts rather one specific mid control as that's to oversimplify the pedal as a whole. Combined with a decent passive bass it's superior to many on baord eq units IME.

Sweepable mids from 180Hz-1kHz If you follow the description and settings explained in that link it describes how you can shift the mid freq to have a really useful impact on the tone. "....At this point, if you want more depth, rather than boosting the bass, you move the mid frequency knob clockwise, which pools out upper mids and articulation. If you want more of that, then you move the knob counter clockwise to bring those upper mids back into the tone. The highs and lows stay the same, so it's an easy way to adjust your tone on the gig to get more/less articulation in the mix."

Possible but it really should be available after 15yrs of production? You’d think they’d sell more of the pick up based on the online chatter rather than folks buying a signature bass just to plunder. I think the Dirnt bass is a great bass and owned one. If I were in the market for a new bass the RW Dirnt would defo be on the radar. I believe the new RW series are lighter too!

It the TH’s ability to shift those mids scooped or more prominent so easily that’s it’s strong point especially in AGS mode. Great unit which really does benefit from the info in that postI think.

I agree. It’s not like the Dirnt is an exclusive custom shop instrument.

That Dirnt Custom shop ‘59 is a cracking pick up but you can’t buy it from fender!!!! Outrageous! It’s one if my fav’s along with the DiMarzio Model P.

I’d agree that the Tone Hammer is a super versatile pedal too. I’m sure the zoom can recreate it with some patches but for a standalone eq or drive pedal it’s pretty neat. @dannybuoy did you try the settings listed on this post!

It may not be as simplistic as that but that’s normally what I’ve done in the past.

An active bass ‘can’ overload the preamp on a bass amp (but it might not!). If it does use the active input which is padded usually by 10dB. Conversely a hot wound passive pick up might also overdrive the passive input. What rules eh! Ideally you should try both inputs and listen to the resulting sound. You might dig the extra grunt of the active into the passive input. Your effects unit in bypass mode isn’t adding anything to the signal so whatever input worked with just bass into amp should be fine. You’ll be adding gain stages via patches so they’re easily balanced if you’re noticing volume spikes between unit on and bypassed or between individual patches. Just turn the amp up to compensate for the the reduction in input gain versus output when using the padded input.

Just take them along and use them. Do the major tweaking at home and set up some presets where you think it’ll be most effective. It’s just a matter of changing the preset which is pretty hassle free once set up. Better to try it than have goofs like me stomping all over your thread 😀

Sounds like you already know the solution and by combining the G pad and maybe even some low eq manipulation you’ll be sorted.

Another school of thought is set you amp up to suit the venue. If I recall the Ashdown will have 9 Bands of eq? Ashdown suggest using the three rotary bass mid treble knobs to get the basic tone and use the sliders (pay attention to the eq points on the slider controls) to help make you more present in the overall mix. You should be able to gently nudge more useful frequencies up or down to where they’re working for you. Using your ears not eyes on the eq positions for the room you’re playing is a good start. Sometimes what can look extreme on an eq just sounds right. Live sound is either easy or a nightmare and there often isn’t a ‘one tone for every room’ solution. There’s some great guides online for eq and live sound which list frequencies, what they ‘sound like’ and trouble shooting so terms like muddy, boomy, boxy, etc are defined by their location on the frequency spectrum I.e. 700Hz help poke through a mix and how to resolve issues. It does no harm to keep these sorts of things in your gig bag to guide you through and give context to the eq on your amp. Knowing what each eq slider does is half the battle and makes problem solving much quicker. Anyone else in your band ‘into doing sound’ who could tweak while you play and help with the fine tuning? The bass eq (set with all controls at noon) can then be used to help once your sorted with a good basic amp tone. The trick is each new room will require it’s own specific eq tweaks to help you sound your best. If you’re playing the same venues it’s worth taking a quick photo on your phone and saving it with the name of the venue for reference next time. It’ll speed things up! As for effects. It there’s a tone you really need like a fuzz which is integral to the vibe of the song then those should be priority but a tuner (especially with a mute function) is a no brainer. Anything else is set dependant but a light drive/comp/( maybe eq) can all be useful for adding a nice touch in the mix too for occasional parts or as always on effects. Best move is sort the basic live sound out to where you’re happy and then decide what, if any effects you actually need. Good luck.

I had the same issue playing on boomy theatre stages and had considered the gramma pad too. Those lows can become quite obtrusive! You could just switch the zoom on and off as a comparison or have two alternative patches- one set at the thumpinator setting and an alternative and engage one then the other. Easy!

To be fair @dave_bass5 you’re in the unique position to just bring all three along and test it for yourself. Nothing quite like lived/gigged experience with the gear in the actual environment it’s getting used to decide if it works. You could possibly set the hpf up to a different setting/response to the Thumpinator and compare/contrast and get it right for your needs.

Have you found the zoom to be better at the filter stuff? I know that was a criticism you had of the Stomp.

Explain? If you’re not adding eq do you mean you haven’t balanced the volumes to unity between on and off I.e. engaging the pedal causes a volume jump or...?

What are you finding most useful from the rehearsal sessions with it? The hpf, comps and eq primarily?

When will this be getting it’s first gig under its belt @Al Krow? Sounds like you’re really getting your money’s worth outta this one😀

Some folk don’t think a 3 band eq is essential and setting the amp up with a tone that works from the off is what many bassists do. Switching a three band eq on or off would a crowd notice? Would they notice for the right or wrong reasons? There’s few rules so long as it works! I’m confident we’re all happy with what we’re doing on our gigs. Many bass chatter’s use their gigging experiences with their gear to inform their posts. Others like the banter, the research, internet trawling and most importantly the community and this is reflected in their posts. Where the two cross over is when BC is a wonderful resource. This forum has clearly elucidated many folks and long may it continue we can always learn something new!

It’s all banter but it just goes to show that getting all evangelical on a subject is a bit pointless. We all learn from experience it’s how this all works and the best way to learn. By this stage you’ve probably contradicted yourself on every topic at least once but thats the joy of learning. The journey not the destination right! Begin with the end in mind indeed!

Maybe I should check this unit out. If it can turn anti compressor @Al Krow into the guy sharing compressor settings then it must be worthy... “BUT frankly NO pub audience is ever going to notice whether a bass player is using compression or not. (Can I suggest that folk who disagree simply switch their compressor off mid track and see if anyone in the audience notices?). In that context it's pointless.“ - a prolific bass chatter

I should restate that the edit software for the hx is free. Native is the entire hx fx and amps etc as a plug in. It’s available as a 14 day trial.

Here’s the irony. The Helix Native software makes programming the Stomp pretty simple and when it comes down to it time spent with any unit and understanding the U.I. is part of the learning curve. The actual effects, cab sims etc likely all share ‘parameters’ so the actual effects and getting what you want in terms of delay times, eq, compression etc. I believe my experience with the Stomp is being recounted and it’s not 100% accurate. I already have a pedal board with the few effects I already use - compressor, eq, drive, hpf- I would have kept the stomp but I’m quite happy with my existing board but in saying that if I was playing in ear only gigs the stomp would be a keeper as it’s so versatile to have the amp and cab sims. Overall I don’t need heaps of amp and cab models for my gigs or a massive variation in sounds as my rig does that job! I was actually gonna make you an offer on your stomp@Al Krow so again much like the false representation of my thoughts on Yamaha basses I’d happily gig and use a Stomp I just didn’t fancy paying £400 at the time to buy effects I already own. When one comes up at the price I’m happy with I’ll get one but for now I don’t feel like I’m missing out. I know what the unit is capable of and feel comfortable with the interface and having used it for more than a tuner I know where and how it would fit into the grand scheme of my gigging board. Basically if my band go full in ears I’ll get one.