Muppet

I've not moved from the regular setting of +5db. I have the four bass presets loaded (flat, deep, vintage, fat) and there's more than enough gain in the Helix for gig volumes. The newer plate mount amps from Hypex do have a volume control I think.

Yes I have that too, although I like the fact the the amp has a powercon out socket so you can use a link cable to the input of a second cab. As far as the attenuator goes, if you crank the gain to full on the amp (up to +18db) it's quite hissy and attenuating the input signal won't change that I don't think. The guys at Barefaced say that the amp likes a hot input signal to get the most from it.

Might be worth an email to Hypex and to Alex. The Hypex website says that these current amps (PSC2.400d) will be discontinued soon. They don't say what the replacement might be but I think they would put forward the Fusion range. These come with a remote control to adjust volume, DSP presets etc. Maybe Alex already has a replacement one in mind? My rear panels are not quite as per the design above - I also have a digital AES/EBU input not that I have used it. I control mine with the Helix and leave the internal volume set at +5db. On the Helix there's a +20db gain per preset available and then 20db gain via global settings. I use 1/4" out to go to the FR800 for monitoring and link this to the volume knob on the Helix. The XLR out from the Helix goes to FOH and is not affected by the volume knob. I have control over onstage sound this way without destroying FOH or monitor levels. Point to note with the FR800 - it needs a powercon cable. If you'r running two on top of each other (like Jack) then you can daisy chain them - again with a different cable type -, but if you're separating them then you need two separate powercon cables and they're not cheap. Steve

We record gigs too. Then we send round the recordings just to say " this was us, what would we do better." No finger pointing or blaming. Individuals are often quick to put their hand up to any of their own mistakes when hearing the recordings. It's also a good opportunity to say "your tone was great," or "that was a fantastic solo" or "you really nailed that part" . We all like a bit of recognition from our own bandmates too.....

The point of this thread was specifically around live sound as opposed to studio. Can you really pick out, in the band mix, mid song, the differences in bass tone between analogue and digital? I'll be buggered if I can......

Both myself and my guitarist have gone Helix. The biggest benefit is consistency in sound and the ease in which we are able to set up the PA. We're not fiddling with buttons or tracing dodgy patch cables or balancing output volumes mid gig. The ability to create complicated signal chains with ease and the variety of amps, cabs and effects on offer do it for me. There's no way I could afford to do that in the analogue world. I'll concede that from a tone purist point of view the Helix isn't going to be 100% a match for valve amp and analogue pedals but for my live use it's ideal.

Sorry I was referring to the latest range of American Vintage Reissues, such as the 74/75 Jazz basses for example.

I also had a Sienna Burst Precision from 83 and it was much better than a late 70s (78) Precision i had. The best 70s basses I've seen are the vintage reissues...!

It could be that they've done their homework on you and think you're a good fit and this is making sure. I've auditioned band members before who have turned up and done three songs but when its come to learning a whole set they've not come up to scratch. It shows that at least you are serious about them.

Barefaced FR800? Same as the BB2 but with power amp included. Small preamp and away you go.

I liked my LS2 but sold it because I wanted something to do A/B/A+B mix/bypass with either loop switchable and the LS2 only has one switch. I settled on the SFX Loop Logic.

I still use mine (including the 210 extension cab) even though I'm mainly using Helix and FR800 just because it sounds so good and is dead easy to get a good sound out of, especially with a Precision. Only annoyance is the the extension out is 1/4" not speakon, but the cab input is speakon! I changed the logos too to match the silver cloth for that vintage look Fender part number 099-4093-000

If you upload a patch that contains an IR, when that patch is downloaded from the library by someone else is the IR there or is the block empty?

I borrowed a Roland midi PK-6 once and tried to use it to trigger keyboard chords from a laptop. The sound was pretty good but my timing was bloody awful and made the songs sound worse! I switched to a Digitech JamMan and some prerecorded loops.

A thread on here? Not that I know of. I'd be interested if there was.

That could be the perfect solution, I'll check it out, cheers!

I priced a new standard Sterling 5HH from my local dealer at £2,200 recently so given this is a special I don't think the price is that bad.

You're talking to the closest thing we have to a synth player!

I'll let you know how that goes down with the rest of the band

That's exactly the plan. I use it for other key phrases or intros to songs so I know it works. I just need to get a phrase to sample. We've tried recording a human whistle but it sounds rubbish. I can find helicopters, explosions, lightning, gun shots and aliens but I can't find a whistle!

Sounds daft but anyone know of an effect I could use to replicate the whistle in 'Moves Like Jagger'? I want to load it in to a Loop pedal to play back at the appropriate times. I know the correct answer is not to do the fecking thing at any cost but it's a wedding request and you have to keep punters happy.........

For a Bongo that's really nice. Although I have a Starry Night Sterling 5 so I'm biased..........