EBS_freak

I dont know... Line 6, Helix, AxeFX, they all look suitably cool and cutting edge - to me at least. You don't look at them and think, yeah, looks like it's been bolted together from bits found at Radioshack from the 80s... Laney... well, there's a good chance that they did go down their local electronics store and hack it all together. In regard to PA cabs - you are right... they look like PA cabs. These guys haven't recognised that there is a potential new market for them... to make a FRFR cab that looks like a traditional bass cab... but that's the thing, they probably don't care... because they make PA cabs that look like PA cabs. Or perhaps it's the mindset of the bass/guitars players to realise that guitar and bass cabs should no longer look like the bass and guitar cabs that we are traditionally used to. I suppose beauty is in the eye of the beholder... but I find PA cans more attractive than some of the bass cab offerings (mentioning no names) out there.

I think you should scroll up to see my previous post where I am singing their praises.

Yeah... but THE SMITHS.... come awwwnnnnn!

This is the one that you're talking about, right? With regards to disappointment. Yeah. That's the nature of the world. You only have 7 seconds to make an impression on somebody... whether it be a first meeting or whether it be listening to music. You know as well as I do, if a lot of the non commercial music that is discussed on basschat was on the radio, the average listener would switch channels within seconds. The thing is, we're not under any law that we must explore the output of what others do. If it doesn't resonate with you, you can move on... or choose to investigate further. Which is what I did when I started my Phil Minton thread. I still don't get it... but I understand more why some people may get it... but it's also opened up some other avenues of music that I'm currently exploring. Some I shall no doubt last more than 7 seconds... some may actually spark some interest.

Woah, chill out pill aisle 4. I actually like JC and my comment was a tongue in cheek nod to Ed Sheeran's lawsuits. I also spent last night watching JC's AH performance ... some bits for me are over produced... but that's kinda what's intriguing about it. Pushing the boundaries because he can. Personally, I'd rather hear him do that with popular songs so you have a baseline... than a complete random performance that is more difficult to get an access point into... because then I think you can truly appreciate what a music theory boss he is. These are once in a lifetime savant musicians. I appreciate that. People like some stuff. People don't like some stuff. People will always have opinions that don't match yours. People will express it in different ways... and you'll never change that. So don't wind yourself up about it. If you want to make yourself angry, go and check out some of the Phil Minton stuff I posted... and then check out some the interesting discussion that it has produced. I don't think that myself and @leftybassman392 will ever appreciate that same style of music... but the discussion has been full of humour... and deliberately emotively provocative... but that's what's brought out some really interesting discussion. It's no different to people liking The Smiths (I mean, what the actual f***) and Jaco.

I think a lot of it comes down to the fact they made some seriously tripe solid state guitar amps... and some awful acoustic amps. And those will be the things that they will be remembered for. They kinda killed themselves in the 90s and it hasn't been long enough for people to have forgotten. I think they could do with a product designer too. They never look pretty. I mean, take a look at that RB9. It's not going to worry any other manufacturer on it's looks is it?

re-writing existing songs...

It was there, it's just that you missed it. It's operating on a different level to the one that you can comprehend, clearly 😛

I was playing through a Nexus SL and matching cabs at a rehearsal studio recently. I have to say, I really like the tone and the headroom. I wouldn't have any issues going out gigging with such a setup. In fact, I've gigged with a lot worse that's cost a lot, lot more. I used to have a LC15R for guitar too. At the time, there was nothing to touch it as a small guitar valve combo that actually sounded decent. Things have moved on now - the market has opened up for low wattage guitar amps... but for me, the LC and VC combos were punching way above their perception.

Helix covers much the same. Of course, the advantage of the Helix is that I can download profiles til the cows come home. But sometimes too much choice can be bad! I've got 3 profiles that are doing it for me at the moment. A focusrite pre, a neve pre and a SSL pre. Also have a brilliant Chandler channel strip through a neve channel that I profiled on a recording session I was at cos I loved the sound so much. It's all very addictive! 😛

Ha, well, you know that XLR wouldn't belong to the singer. Yeah, I'm with you - I think that's one of the reasons I went with the Kemper... it gives me opportunity to try new stuff at minimal cost. (Obviously Kemper outlay aside - but that does for my guitar stuff too, it replaced my Fender Twin) Perhaps this isn't the time I suggest that mic channel strips > bass DI pedals...

Nothing happier than a soundman mixing a silent stage. Now, if there was only a way of getting a digital out from a singer's vocal chords.

Good stuff. I think there's a mind set to get away from the look of the cab - but for everything else, I just haven't used anything better. I bet the double bass sounds stellar through it.

Hot Chocolate! (Although I thought Gun did a great cover)

It's pandemic!

@jrixn1 - good to hear your experiences. So then, agreed, your best rig ever? And by some long shot I'm guessing? The speakers in PA cabs are just far better than the ones found in your standard offerings... and with the DSP, any inadequacies in the cabs are catered for digitally. What's not to like, right?

1) If you are wireless, have a wired backup. Have a spare pair of IEMs (with ZS10s costing less than 40 quid, everybody should have a spare pair.) - You are right, if you have no backline, the only thing you'll be able to play against, is whatever bleed you are hearing from front of house. In short, it's only like you amp going down... however, by going the inears route, it's a lot easier to carry around a spare rig. 2) Depends on your mixer. Most digital mixers have remote control via apps available on your phone/tablet. They show a virtual set of faders... mix the instrument/mic levels to your hearts content. Theres a really useful thread in the Accessories section of the forum. If the answer is not in there, it doesn't exist.

@Dad3353 - I had to check which thread I was in. There seems to be a lot of spooky parallels going on around these parts.

Sound like a case of modeller and FRFR to me. It makes sense - you can get a FRFR that can point at your head like a wedge... and any tonal inaccuracies that you don't like, you can tweak out at the model. EQ, more grit/less grit, etc...etc... Modellers are so good now, it's a route that you'd be foolish to not look into. With an amp and cab, you have preset sounds backed in... that are very difficult to remove or influence. As you've experienced, the EBS has quite a hyped top end - thats largely due to their use of the Selenium tweeter and the crossover point that EBS implement. I actually think it's sound very, very musical, especially with the EBS amps. Maybe the problem in the top end lies with the amp and not the cabinet? I use a Kemper but generally only use it for one sound - but the profile that I am using on it is perfect for what I am looking for. I'm intrigued as to why you are against inears. If you run a decent set of inears - and I'm not talking Shure 215s, then there's a whole revelation waiting for you. I've spent as much on my inears as my powered Kemper and remote - and it's by far the best sound I've had on stage ever. Massive lows, incredible detail... and the added benefit of not going more deaf after every gig.

The fart post? Or the OP?

1. - for me it depends on the bass...but yeah, does look a bit industrial. 2 - downside is that it naturally creates a weak point, even if you try and counteract with a volute. 3- you can fit these systems to neck thrus ok.

So just caught up on the sarod stuff. There's bits that I can appreciate... for example, the skill of getting the intonation spot on and build up in tempo and feeling... but as far as tunes go, I don't think I will remember it down the line... but there was definitely some bits that made my ears prick up a little. I'm not sure I could dig on it for an hour though. Maybe it's a lot to with the instrument in question too. Alot of improv bass leaves me cold too... probably because a lot of the time it would sound a lot better on the guitar. I'm trying... but I'm still tempted to lob this kinda stuff into room 101 along with the inappropriate use of fx pedals. Maybe crazy improv with inappropriate use of fx pedals is the complete nemesis. Anybody care to share any examples? And furthermore, find something that bucks the trend? Actually, add into the mix, the overuse of technique to the determent of the music actually being played.

Sock? Or full on stockings?

I just PMed this but probably worth sharing... but this is what fire looks like. Mastery of the whammy too. Face melting stuff.

It's simple. Take any bass. Add sock. Become bass playing savant.