Linus27
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Everything posted by Linus27
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Does anyone have any views or experience of the MXR M80 DI+? It seems to get good reviews and seems to be a good price.
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I'm liking the look and sound of the Laney Digbeth. The reviews and videos I've listened to are all really positive. Cracking price as well for a lot of functionality.
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Thanks for your input and interesting you liked the Tone Hammer. I watched a shootout video tonight and to my ears, the Tone Hammer was one of the best sounding. I also had a look at the AG Preamp and that also sounded really good. As for the Sansamp VTDI, what were your thoughts on it?
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I'm definitely liking the look of this. The two on my list so far are the Tech 21 Sansamp VT Bass DI and now the MarkBass Vintage Pre.
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That actually sounds really good and super versatile.
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I'm just after a few recommendations really on a nice preamp pedal with a DI. For my fretless pedalboard which is a nice melodic 80's sounding setup (think John Giblin and Pino) I'm using a Sansamp BDDI v2 along with an OC5 Octave, Chorus, Reverbs and Optical compressor and it sounds really really nice. The BDDI v2 add some lovely character to my tone. My new band is more of an Americana type of thing which I will play with a P-Bass with flats. I guess its a bit like Bruce Springsteen, John Mellencamp, Neil Young, Tom Petty, David Grey etc. I guess I'm after a warm, punchy sound, maybe even a bit Motown in places. I don't really want to go and buy another Sansamp as I fancy something different although I'm happy to use the Sansamp if there's a more suitable preamp with DI for my fretless pedalboard. I really like the look of the Ampreg SGT-DI, especially for the B15 sound but I can't see me using the drive and I would probably use a separate compressor pedal. Likewise, I like the EBS Microbass 3, especially as it has a tuner but again, I can't see me using the drive or the compressor so both of these pedals seem a waste and a bit expensive for my needs. I've looked at the Tech 21 VT DI which might be a good alternative and possibly make a nicer B15 sound over my BDDI v2. It's not essential to have the B15 tone but it might be a nice tool to have for some songs. The MXR M81 is a lovely pedal but I think is going to be a bit clean and lack a bit of character for me needs. I did own one before and it didn't really grab me. Any other recommendations on a nice preamp with DI that will suit my needs or shall I stick with the Sansamp option?
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I tried IEM for the first time last week and I was half expecting to hate them but it was ok. I think I got lucky with my choice of headphones as I went for the KZ ones that were rated highly on here through the Behringer P2. I gave them a quick test on about 4 songs and it all worked well and was passable. However, I did miss the ambient sound that you get on stage and the energy that you get from a backline and the other instruments, especially from the bass. What I did like was the much lower volume, that was nice as I am a strong advocate for low volumes on stage so you can play with dynamics better. As for the Fender Rumble combo's, I used the 500 a few times at a gig and I have loved it. Every time I've had a superb sound through it. I would really like one but I am worried that if there's an issue with the head then you are buggered. I currently use a MarkBass LM IV and Barefaced Two10 but take with me a 300w Gnome just in case the MB goes down. Either way, the Rumble combo has sounded amazing the three or so times I've used one.
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It may be a superb bass but as others have said, its at least 50% overpriced. -
I agree, it is a very sad day, Status basses are incredible and if the right one came available then I would be very tempted. I think however, I have missed the boat but I can still admire and appreciate them and enjoy my fretless Status neck on my PJ.
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Just had a try and the code didn't work sadly
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I've recently found Andertons prices a bit odd recently. Some of their products for pedals etc. have been £20 - £40 dearer than most other places online.
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I'm a huge fan of the Gnome amp heads and use the 300w version for smaller gigs through a TC Electronics 2x8. In case you were not aware, the Gnome flat is with the bass at around 10 o'clock, the mids at around 2 o'clock and the treble at around 10 o'clock.
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Just an update from me. Tried out the Behringer P2 and the KZ ZS10 Pro headphones tonight at a local gig and they worked an absolute treat. I didn't mess around with the mix but just settled with the FOH mix so not perfect for what my preference would be but good enough that I played a bunch of songs no problem. I miss the ambient sound from on stage and the raw energy of a live stage sound but I also liked the clarity and quietness of wearing the headphones. Overall, a great success and not a bad £70 spent on a basic setup. The headphones were really comfortable out of the box as well which I wasn't expecting.
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Cheers Dave, you are a star, as always, thank you. I will keep you posted, I've ordered a Behringer P2 and a set of KZ ZS10 Pro's to test the water at a local gig with my other band. Once I know what's happening with the other band and how I get on I'll let you know but as always, thank you 👍
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I did but I'll be honest that some of it went over my head. I've read it twice now and it's making more sense. It's not the way it's written, it's more me just not understanding the terminology etc.
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Ok perfect, that's making sense, thank you and to @WalMan So DI from Sansamp to desk. Wireless Xvive from desk to Xvive on belt with IEM. Alternatively if large stage then wired cable from stage box to P2. Of course, all redundant if venues have stage monitors.
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Thank you and some of your replies were things that I was unsure about. I think the bit in the link I'm not getting is the sound from the desk back to me to my headphones. I've got a DI going from my Sansamp to the desk so the FOH is sorted. How do I then get a wired monitor mix from the desk back to me and into my headphones. The first page suggests using a headphone amp like the Behringer P1 or P2 so an XLR is connected into this but what's the other end of that XLR connected to? It cant be the desk as that might be the other side of the room and that would be a very long cable for me to be connected to. I'm missing something in the chain somewhere on how the monitor mix comes back to me from the desk and into my IEM.
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Hello everyone, A bit slow to the party on this one and as someone who has for the last 38 years played with the old school amp and bass cab backline, please go gentle on me and my understanding on trying IEM 😅 So I have the opportunity to play in a band and some of those gig could possibly be in central London. Long gone are the days where I would drive up, offload and park somewhere so I'm looking at amp/cab less solution and using IEM. Have read the many threads on the subject, so is my understanding on how to get it to work correct? My bass would plug into my Sansamp BDDI v2 and a DI would go to the FOH desk as normal so FOH has sound. Rather than a Jack to Jack going to my amp and cab setup, I could plug in something like an Xvive U4 wireless transmitter into the output Jack socket of the Sansamp BDDI v2 which would be paired to the Xvive U4 wireless receiver and from that, headphones from the receiver into my ears? This would give me just bass in my ears but technically the same process as hearing bass from my amp/cab setup or stage monitors. Is that correct and will it work? Alternatively, my bass would plug into my Sansamp BDDI v2 and a DI would go to the FOH desk as normal so FOH has sound. Rather than a Jack to Jack going to my amp and cab setup, I would run a Jack to Jack cable from the output Jack socket of the Sansamp BDDI v2 into a Behringer P2 Personal Headphone amplifier attached to my strap and then headphones from that into my ears? The positive would be it was all wired but the negative would be two wires connected to me, one from the bass into the Sansamp and one from the Sansamp back to me into the Behringer P2 headphone amp. I could always lose one of the cables by getting a wireless guitar system like a Line 6 G50. Sorry if these are stupid questions or obvious questions. Have I understood the process and how this would work correctly and does my suggestion work. Any corrections or better solutions?
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I've bought a few basses and amps from Bass Direct and to date, everything has gone very well. I also buy all my strings from them as their prices have always been the most competitive and delivery has been very quick. Interestingly, I've just dropped them an email asking a few questions about a certain bass so we'll see how they respond but I'm not expecting any dramas based on previous excellent service.
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I tried one of these a year or so ago and I thought it sounded and played amazing. Way better than I was expecting. If I ever got back into a U2 tribute band then I would have one of these along with a Fender Jazz or Precision.
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Wow, what a track. Hard to tell if a real bass as for most it does sound real but at time it does sound processed but there is a synth sub bass running under the whole track so that might be confusing it. Mega track though.
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I think we need to understand what type of music you play. Many years ago, I went from two guitars, bass, drums and keyboards to one guitar, bass and drums and we were worried that our stadium rock sound would sound empty. It was the total opposite and the space was a wonderful addition to our sound and we had amazing seperation between the instruments. We went on to play Brixton Academy and many festivals and we had no issue creating a wide full sound and we never missed the other instruments. These days I play in a 3 piece which is a singer songwriter on acoustic guitar, drummer with brushes and myself on fretless bass. We play with so much space and dynamics that you have to be creative in you area, otherwise it's going to sound flat and repetitive. So to fill the sound out in certain parts, I will add an octave which just fattens the sounds and the next level up after that is to introduce a little envelope filter to the octave sound. Other times I'll use a little chorus and reverb to make a beautiful sweet tone and then some time it will just be a clean tone. So it really depends on what type of music you play and to decide on respecting the space or filling them but always try and maintain seperation between the instruments.
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It was certainly one of the major nails in the coffin. John Giblin did an incredible job on Once Upon a Time and Street Fighting Years and Malcolm Foster on Real Life. However, the final nail for me was when Mick McNeil left. They were never the same since.
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I asked him once in an interview and he refused to tell me 🤣 Here you go,
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John was also a composer and could play piano and guitar. During his time with Simple Minds, he played the following during the Simple Minds recording era. Mick McNeil, the incredible keyboardist from Simple Minds is playing it here. John also composed the following for Simple Minds. Sadly, during the recording process of the Street Fighting Years album, John and Trevor Horn fell out in such a big way that John packed up his gear and walked out and quit Simple Minds. Its possible to tell on the album what are some of John's bass lines for some tracks but not all. I have spoken to Steve Lipson who played additional bass if he knew but sadly he can't remember.
