krispn

So I bought HX Stomp last week and have been using it extensively in a variety of settings! At home via an amp, via headphones and then into my DAW (individually and simultaneously with the amp), I've been down the rehearsal room trying it into my amp and into the desk (again both individually and simultaneously) A/B'ing, comparing at volume. I've ran it directly into the 'power amp in' on my amp and used it for all preamp and eq duties V's into the front of the amp, running into the front of the amp with 'fx only' while running the DI to the desk with amp and cab sim engaged etc. I have also, naturally, used it with my band at rehearsal last Sunday. I've pretty much used it in all conceivable application which I might need it! It's a nice wee unit with a heap of great sounds and I/O options. I'm not gonna keep it though as the gear I have does everything I currently need and comparing the direct sounds against what I have, give or take a bit of eq'ing at the desk, it's far more than I'll ever need and would be wasted on me. Is it pretty? Yes! Is it a great sounding unit? Yes! Is it intuitive and easy to use? Yes! Is it for me? Nah! *Some context* I don't really use of need any effects other than a bit of compression and the occasional drive. I run a Tone Hammer DI which allows me to cop a pretty decent ampeg type vibe either the more scooped SVT sound or a more rounded vintage B-15 thing as needed (great wee pedal)! None of my three bands really need much in the way of wacky sounds or filth and the two amps I have offer me a good variety of tones between their tube pre amps and on board eq/drive options. The HX Stomp wasn't likely aimed at me as the end user but I can see it's value in a bunch of settings as I think I've pretty much tried them all

12kHz for me into 5 driver IEM type ear buds

Here’s the other plate fitted on the bass Tim. Hope to get some live gig shots this coming weekend and I’ll forward them on. I think the guitarist might be in touch soon to get some plates done too!

I seen it written by folks on here when some advice is given about sound and mix and the reply was I’m a bass player not a sound engineer but having an understanding of what works in a mix for your instrument at least, will reap dividends. If you take this a step further and as @Dood says understanding the space in and around the kick drum frequency will help with the bass on a live mix for oomph/heft/thump etc A quick aside... I was laughed at in one of my bands for having a wee quick reference chart for helping manage feedback/resonance issues and lo and behold following a quite important gig and two sound men arguing over what the issue was I walk up and whip out my wee chart, diagnose problem and the issue was mitigated. My band now have a new found respect for my wee bit of laminated paper and when things aren’t going right in a sound check they all give me ‘the look’ and a nod.

Bdonkey Direct advertising in stock at £1299. Makes the Monique Tardis on here look even more tempting. Just back from gigging it. Big, tube di sound to the desk which made my humble bass (playing) sound great out front if the sound man is to be believed.

I couldn’t compose bass lines like Jamerson if I was being held at gun point let alone drunk!! Phenomenal musicality and music IQ that man!

Yeah I think just having played with three new to me drummers is such quick succession really brought it home. A good band/rhythm section or whatever works best when they are listening or understanding each other. I’ve overheard people saying me and Gig 1 drummer are tight - y’know when you over hear punters at gigs waffling to mates in between songs and to be fair we do play well together. Some of the best musicians I know are drummers without a doubt. I think they hear more of the band or think more about the whole band rather than just their moment in the spot light .

No he left of his own volition. Kenny is magic but sadly moved on from the choir gig. I’m off at the end of the month. I’ll pass on you said hi when I see him next.

So I've been in a funny predicament where my main pub band (Gig 1) has been getting a new, dep drummer up to speed while our main tub thumper is doing the final studies on her masters. My other main gig (Gig 2) has had a new drummer come on board since Dec (and a third band I've recently joined has a recently acquired cajon player)! I had a written out a big thing but condensed it into this simplistic question... What makes a good drummer? Is there a difference between pocket and groove? From my experience the new drummers, the dep and our new Gig 2 drummer just don't have that same magic. Gig 1dep just ain't listening and he's drummer away to his own agenda and not really listening to me or how we play as a band. He's a regular on the local circuit but just not a fun guy to play with. He's been shown the door following the last gig and I hope a buddy of mine can fill in for the remaining shows! We want to have a good dep for those occasions where our regular drummer night want a break so it's important we get someone who listens. Gig 2 drummer is competent but I feel lacking a little something...consistency maybe. Kick patterns aren't quite locking in the same and as I'm planning to leave this band at the end of the month I'm not too bothered about doing too much but still want us to sound tight! I know with both 'my drummers' in Gig 1 & 2 we 'listen to each other' and lock in really well. For all the fancy stuff Gig 2 drummer can and does play it's always tasteful to the song and him I agreed the most satisfying song we played together was in an original tune where it's just a really simple 4/4 beat with an equally simple 8th note low E pounding away which just sounds massive and fit's the song perfectly. The thump/punch we get with that locked in is just smile on the face stuff... and we both know it - we can feel that connection between kick and the bass and it's powerful. In Gig 2 we have tunes where we play little things our way and it just feels like it grooving hard even on bog standard tunes. Again I believe it's the connection/understanding from over 10 yrs of playing in various original bands and side projects together. So what makes a good drummer? I know familiarity is a big factor and I can't deny that we probably all play better with people we've know longer. I'd be keen to hear your thoughts!

If you see a 4 string passive going for a good deal anywhere let me know

Not quite. A passive tone pot rolls off only where as a tilt eq servers a different purpose. Think a tone pot with pivot set at say 400Hz and the ability to boost low or highs. I have one built into my amp which is labelled room Balance. It allows for additional ‘tuning’ of the eq around this pivot to accommodate dark or bright sounding rooms in my amp. Googke tilt eq or you tube and you’ll find more eloquent descriptions than mine 😀

My simplistic understanding is a Tilt eq has a 'set point' and like a seesaw when you favor one side or the other the tone is effected at that set point to more bass or treble

That's what has piqued my interest although I should say I'm very happy with my current comp this might add an extra dimension.

Might be worth taking a punt on the Stella.

@Al Krow maybe you could ask the guy from becos who contacted you what their inspiration was for this pedal? I’m guessing that it’s another original circuit design. It does appear to have some good features.

Astute as ever 👍🏽😀

Look up the Fatso compressor or the distressor 😀

A bit of a Fatso type thing perhaps?