BigRedX

It's only used for the filter sequencing functions and goes through one of the effects send/return of the Helix and so can be treated like any other Helix module, and is also connected via MIDI for patch change and MIDI clock. For the band I use it with, we have computer controlled backing so this provides the MIDI clock for tempo control. So far I've only used it on one track which we don't currently play live, but the plan is to start doing more with it because it's easier to bring to gigs than a additional synthesiser keyboard.

Also something struck me when looking at the photos the Rob OReilly bass the both this instrument and the IR MIDI bass have bolt-on necks. Why? The neck is an integral part of the pitch detection system, it's not as if you can take it off and replace it with another one! Does anyone know what happens if you try and remove the neck from one of these basses? Can you? is there a connector in the neck pocket for the fret-sensing wiring? Could you fit a shim if it was required?

Most of the time their service is great, although I have always found it somewhat on the slow side (even before the UK left the EU). However note that Thomann have form for sending out returned items as "new" and getting stuff back to them because it is faulty etc. has always IME been less straight-forward than it should be and has got noticeably worse since 2021. Until they have the UK returns process sorted out (whereby they always offer the option for DHL to pick it up direct from the customer rather than going through one of the "drop-off" points) I don't think I'd want to chance it buying anything large from them.

Another boring J-Style bass with an even uglier headstock. And very vague on the actual pitch detection mechanism.

Thanks. Same as the Squier then. What bridge do you have fitted in these photos?

Two points: 1. As has been said the IR bass uses fret sensing to derive the pitch information which makes it much faster and more accurate than the alternative pitch-to-MIDI systems. 2. It's not a MIDI output on the Godin basses but a 13-pin connector that can be used to drive a separately bought pitch to MIDI convertor. The problem with pitch to MIDI is that it's slow and the conversion speed is dependant upon the pitch of the note being converted - the lower note, the slower the system will be to identify it. The very best of these systems require at least one and half cycles of the waveform in order to identify the pitch. Most of the time they require more, and they also demand a very clean and precise playing technique in order to get the best out of them. Low E on a bass is 41.2Hz which means that at the VERY BEST a pitch to MIDI system will take 36ms to correctly identify the note. That's slap-back echo territory and a noticeable delay. And that is before you factor additional delays caused by the conversion to actual MIDI data and transmission to a MIDI device. This why pitch to MIDI on its own is unworkable, and why the Industrial Radio system is the only realistic system available and so sought-after by those who can afford it and are prepared to wait for their bass to be built.

That looks better already! Out of Interest what is the spacing between the centre of the two E strings at the bridge?

That's exactly what I was trying to say. When you stand 10 feet away from your cabs your brain knows this due to the "ambiance" of the sound and the fact that you can see you are standing some distance from the source, and somehow everything is OK. If you are standing right next to your rig, or even worse you are using IEM and the signal is also delayed by 10ms it sounds all wrong, because the signal should be instantaneous, but it's not.

Helix Floor. The only thing likely to replace it will be whatever flagship device Line6 come up with next. Alternatively the Linn Adrenalinn, the only effect I use that the Helix can't replicate, but it doesn't spend as much time processing my bass as the Helix does.

One band is currently booking dates for a mini tour in March - we have 4 definite gigs lined up already. The other has nothing finalised, but several potential potential gigs coming up in the new year. So far 2023 doesn't look any different to any other non-lockdown year.

If you scroll through all the pictures you'll see that it has a suitably large neck plate - the body extends out behind the heel. Besides wood and proper screws are wonderfully strong materials. They make houses out of them. Not every instrument has to be as clunky as a Telecaster or Precession Bass.

Except in the real world it doesn't really work like that. Unfortunately for us the human brain is very good at a subconscious level at distinguishing between sounds that are delayed because they are coming from some distance away and those that are just being delayed. Even when the delay times are very small. That's why latency of over 10ms, caused by AD/DA conversions and wireless transmission, will be noticeable, and for many musicians completely distracting, whereas having the sound delayed by the same amount due to the listener being further away from the source is not as off-putting.

It's completely Thomann's fault. They have picked a delivery company, that in the UK at least, are incapable of efficiently handling returns for a lot of the size of parcels Thomann send out.

That's why I play as much as possible even if it isn't "practicing" in the traditional sense. I also agree about being able to kick straight in when playing - especially at a gig. I have been in bands previously where the other musicians want to play something "easy" as the first song so they can "warm up". Often this isn't a particularly riveting song from an audience PoV. IMO you should kick off with your second best song (the best one is saved for the set closer) no matter how hard it might be to play. Practice so that you can go straight into this song from cold, and if you really need to "warm up" first do it back stage or in a quiet corner of the venue. One of my band's opening song features a really complex bass line as the main riff, but I have made sure that I can always play from cold no matter what. The set is all the better for being to open with this song.

That's very nice... However I never look at it as a move away or towards one instrument or another. I've played guitar, bass and synths in various bands at various times. In fact every time I ended up playing guitar or synth in a band it's because I originally joined or auditioned as a bass player. In the end it's all music.

Most of the bands I liked in my youth didn't have any "legendary" playing in them even at the height of their popularity.

If that's the case I'd kick up a stink on their social media, and keep doing it until they sort out someone to come and pick it up from you personally.

There are import taxes and VAT on it. It's just that Thomann have include those in the price. Last time I had to return something to Thomann (before the UK left the EU) DHL came to my door to pick it up. Can you not get them to do this? Alternatively can you not go directly to your local DHL depot and have it taken from there?

I probably haven't practiced in the traditional sense since about some time in 1974, when I finally managed to string a handful of chords together on the guitar without needing to stop to re-orientate the fingers of my left hand into the next shape. I'll work on ideas that I have come up with in my head that my fingers can't yet manage in a consistent way but that's it. However I do play almost every day doing anything between a five minute noodle and several hours of composing. Because I see myself primarily as a composer rather than a musician I can't see the point of practicing unless I have an actual need to be able to play something that at the moment I can't. I'd rather be writing some more songs.

Personally if I was going to take time to work up some serious musical skills I'd do it on the guitar, piano or my singing. I wouldn't bother with techniques on the bass that are at best used for 8 bars once in every ten songs.

Any problems? I'll probably wait until the weekend to do this.

AFAICS they only need your address to enable them to send you their rather dull magazine. Everything else is done on-line, and payments are directly to your bank account (at least since I joined in the early 80s).

I had a pair of these. They fell apart after a couple of months normal (non-band) usage. The weak point is the swivel joint at the headband. Luckily I bought them from Amazon who refunded me in full with no quibbles. I bought a pair of Sennheiser 599SEs instead. I've still got a pair of DT100s which I got very cheap second hand in the early 90s for band and recording use.

The problem is Bluetooth. It was never designed for delivery live audio in real-time, so the latency aspect wasn't considered. It doesn't matter how much the audio is delayed when you are listening to music from your phone, but of course it's vitally important when used as IEMs!

It would probably be less confusing if this thread was merged with the other one that you started so that all the relevant information is in one place. Looking at the photos it appears that bridge posts as well as the bridge are missing - is that correct? It would help if you posted some close-ups of the bridge plate and mute. If so you will need to ensure that not only is the replacement bridge the correct width but also that the new posts have the correct thread for the existing inserts. IIRC the Bass VI bridge is somewhat wider than similar versions fitted to the guitars. If it helps the string spacing at the bridge on my Squier Bass VI is 55mm E-E, which feels quite wide compared with a typical guitar. Unfortunately I don't have my Squier to hand at the moment otherwise I could have measured the distance between the post centres to see if a modern Bass VI bridge could potentially fit. However there are several other Basschat members with the Squier version who could probably do this for you. If you simply want something temporary in order to check that the neck is still OK, then almost anything will do. I'd just stick a suitably sized block of wood under the strings where the bridge should be and then slowly tune up to standard tension over the course of a few days. That way you won't be out of pocket if the neck turns out to be damaged. Regarding value, if the end point of this restoration is to sell the bass then IMO you need to keep it as authentic as possible. Anything that isn't period correct is going to seriously detract from the value no matter how much more playable it makes the instrument. Remember if you want a playable Bass VI your "competition" is a brand new Squier fitted with a Staytrem bridge and a set of LaBella or Newtone strings. That's not in vintage instrument price territory.