EBS_freak

I dont really mind either. There's more things that annoy me about the rest of the bass in the second picture than the headstock... and some of them aren't the bass itself!

Because your iem sound will be much better.. and ultimately you can get rid off all the mush on stage and use your foh for volume. Your monitoring is better. The sound of your band is better. What's not to like?

So you're a fan then?

It's only one feed per instrument - and you can do the drums in two!

So whats the next step then?

Aw cmon, Alleva must be top of the pile on the JB front. EDIT: although it may be D Lakin.

Agreed - the requirement for a straight string lie pretty much dictates the shape that a headstock needs to be. They are all variations on a theme. Yes, there's loads of people doing whacky headstocks... but they invariably end up being clunky or meaning that a string doesn't lie straight through the nut and hence more likely to cause tuning issues or strings jumping out of the nut. I'd say all of those British luthiers have done a great job or meeting the spec.

The Wal 4 string headstock is one of my most hated headstocks of all time... but then the 5 I think is lovely.

Ah JT. Instantly recognisable headstock. I'd say job done. May not be to everybody's taste but as soon as you see it in print, on the TV etc, you know exactly what it is.

I've never used the Zoom or Positive Grid stuff so don't know how good it is or not. I guess, the thing is to try them out and see if they are for you.

I was in the same boat as you. The modern modellers really do cut the mustard however. I remember trying out the Kemper when it first came out thinking that it was good but not quite there. A few software iterations down the line and it's now in my ownership. The helix is definitely in the same camp too.

Both Kemper and Helix have EQ and gain, volume....

Well that escalated quickly "and another one"

Does the Dean do a mean fart too?

@Frank Blank - The FRFR is the important bit for colourless, faithful tone reproduction. So in the above - the helix is reproducing the sound of a miced up rig as it would sound if it was recorded in a studio. So when you output sound from the Helix, you want whatever is amplifying the sound to do it without adding it's own character to it... which the majority of bass cabs will not do (most are actually pretty heavily coloured). PA speakers are generally a good option as they are designed for hifi, FRFR reproduction - e.g. what you put in, you get out.

But but but..... I like soap bars!

No worries!

Good stuff - I really like the QSCs. Really attractive looking cabs too. Remember it's still a single 10 though! You aren't going to be blowing walls down just yet... however, I'm very interested to see how you get on with a single 10 FRFR for bass!

It was shortly after this point that the Gods of Rock smiles were wiped from their faces.

Pitch whammy...

And lets not forget that coffee shop situation where you can go... bass -> helix -> PA (no need for monitoring or anything because you can hear the front of house OK)

Wont be too long before "And another one"...

Thats why sometimes its easy to carry your own monitoring rig that you can control with ipad/phone etc and mix yourself. What you need is a XLR split. Each XLR send is plugged into two mixers; one XLR to your monitor mixer... one XLR goes to front of house. Let the FOH do what they want... you do what they want.

Its completely flexible. You could do something like any of these... bass -> helix -> FRFR (e.g. PA cab) - no bass through PA bass -> helix -> PA for FOH & FRFR onstage bass -> helix -> PA for FOH -> using FRFR as a monitor that has your bass and anything else you'd want to hear bass -> helix -> PA for FOH -> aux for inears (not even a FRFR cab)

Each to their own...but I'm greedy. I like a brilliant mix out front and a brilliant mix in my ears. And the fact I don't go deaf is a bonus!