krispn

Line 6 have created a product with multiple sku’s so they can get people into their product at a range of price points with the higher end ‘do everything’ model as the aspirational unit to get. Most companies do it be it low end basses to artist signature models, 125 motorbikes to super bikes, car models etc etc. Line 6 are no different to any other company. While some features are great to have an awful lot of what’s in my stomp won’t really get used that much but what I am using works brilliantly and makes using the unit a joy. I’ve sold a stomp previously (two in fact but one was simply a great deal I got on eBay shifted for a little profit) as it was overkill but as my band are all in ear now it made sense to jump back in. It’s nice having all the extra’s for playing guitar and experimenting with but it’s solid for my needs and the updates really do add value especially these recent ones!

If you can already add IR blocks then that’s a bonus. There’s loads you can download and try out. The same could be done with an eq block at the end of the signal chain if one needed additional control and didn’t mind a tweak. There’s some cab eq curves which could be quickly dialled in if needed from a multitude of sources.

Snapshots are a great way to audition changes quickly and hassle free!

It’s such a great sounding comp. I’ve replaced the two main comps I’ve been using on patches with it via snapshots to A/B/C and it’s just really punchy. It’s quite noticeable but in a good way. Enjoying the Xeno too. It works as a low gain sound and running it on a super low gain (0.8-1.2) into the Llama. Some nice options there.

The new comp, Red Llama and Xeno are all great new additions. I’ve been enjoying those a lot. That new comp!!

I agree the Alpaca Rouge does sound good and the new comp is great. Not had anything more than a quick play thru but looking forward to it once I get a chance!

Result!

I know it's a signature model and that's what Mr East wanted but it sounds like without engaging the 'scoop' it lacks some versatility? Was that a deciding factor on moving it on or was it simply a box ticked and moving on to other esoteric basses to try out ...cause you've had a few man! I understand that one good bass tone, the sweet spot setting, would cover a whole gig be that the BBNE or a P bass but sometimes all the additional EQ and twiddling can get in the way. I was asked to dep for a friends band and some of the feedback I got was the last dep kept fiddling with the tone controls on his bass the whole gig (and wasn't invited back) you just plugged in and played. I took a jazz bass with me as their regular bassist played one and I thought give them what they're familiar with which might have helped though to be fair I don't own an active bass!

I’d have to agree that some, well most, on board EQ’s are simply too much especially in terms of amount of boost. Who needs 15dB of boost or cut especially on a bass frequency? I often wondered if an on board EQ could be made with a maximum of 4 or 5dB boost/cut across the taper of the pot. I know we don’t have to wind every control to ten but having a limited range of boost cut across the taper makes sense to me. On a sweepable mid control it would be good to have numbers such as those on a vol or tone control showing the region being boosted or cut. Putting some mid frequency points onto a knob shouldn’t be any more challenging than adding 1-10 or certainly not difficult to add some information in a subtle way. Some companies offer a three way mid select switch which is handy. A reason I like the tone styler pot is it’s very easy to recall a setting and it’s passive! The TC BH amps have a clever eq but I don’t think we’ll see that in an on board eq just yet.

Yup if you run your DAW and record a bass track you can apply an EQ and see the eq curve dancing away on playback. I've just been doing that with some 'new to me' jazz pick ups. Always handy to know where a particular instruments has it's EQ peaks and troughs. I had three p bass which all had visibly different EQ when put through this sort of 'testing'. Meant I had a better understanding of each from an EQ'ing perspective. One had quite a bump at 500Hz, one was quite pokey around 300Hz etc. Sure we can hear differences in some basses but it's good to know based on actual evidence if changes are needed to fill things out/cut out freqs on a gig.

Good question @Al Krow OK so hands up who's actually signed up over these last few weeks and how are folk getting on with it? Be good to hear progress stories and such.

Thing is if it makes it's way back to Kenny's they can just resend it. Best case scenario!

That’s quite the range!! Some great colours in there!

I’ll check these guys out for paint if I decide to redo my ‘tweaker’ bass!

The blue model accepts XLR in so ideal for hooking up those HX units and classy preamps. Still hovering over a blue one on amazon for under £30. Be great for night shift noodling.

I’d say so!

Ok

No the studio version. You’ve taken a shine to your new sound because it’s new and different. It’ll become the norm/mediocre in a week or two. The joy of ampeg tone on albums is that it always has that vibe but always mixed for the respective albums. The Bronx, Jimmy Eat World, Hole etc etc all have that ampeg sound but it fits in with what they do when mixed to do so.

Celebrity Skin is a good ampeg tone

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