JamieMillsBass

Anyone tried IEM's with a backbeat setup so you can still 'feel' the 'amp'?

Thinking about going that way now I have the helix stomp.

2 minutes ago, dave_bass5 said:

Are you monitoring direct from the Helix or through your Mac? Does it happen if you use the headphone out on the Stomp?

Tried with the Helix in bypass mode to get a clean tone? 

Have you read the bit in the manual about using it with a DAW on Mac? Just wondering if there are any pointers there. 

Monitoring through headphones on the helix.  Can't remember if I checked bypass more or not, but will again tonight! 

You know what, I didn't even realise there was a manual other than the little cheat sheet that was with the stomp, obviously too excited to start messing with it!  I'll dig out the box and find the manual - probably the best place to start!! lol  

1 hour ago, BigRedX said:

Could be a digital clocking problem. You need one device to be the master clock (normally your computer) and all the other devices sync'd to that. Have a look at your Audio MIDI setup Utility on the Mac and see what it says there.

I'll take a look thanks!  

To be honest it sounds similar to the crackling I get through  my normal interface when the CPU is overloaded due to adding too many effects in logic at the same time.  Although with that I can see the CPU is overloaded with the little indicator on logic hits the red.

If read something around buffering - I'll not pretend to even understand it but changing the buffering speed (hopefully the right term) might help??

1 hour ago, dave_bass5 said:

I dont have a mac, but ive heard this on my windows PC with some devices. Normally down to latency. Do you have it set for a very short time? 

The other cause has been when using something plugged in to the mains and going through USB as well. Zoom comes to mind here. Obviously this cant be the cause here though. 
Is this with the recorded audio or just everything? Not hearing it through the headphones when recording?

It's with everything.  Silence until you play a note then the crackling starts.  Although that being said I haven't actually recorded anything yet to see if it is in the recording as well.

So I pulled the trigger on the stomp.  Still getting my head round it, but very impressed so far with what it can do.

However, this morning I tried to use it as an audio interface.  Worked fine - the mac picked it up no problem.  But when I'm actually playing I'm getting loads of crackles, pops and 'interference'.  

Anyone experienced this before? might save me from going down the google rabbit hole when I'm supposed to be working from home.

8 minutes ago, BigRedX said:

 

I run the Helix Floor and use HX Edit exclusively to program it and manage the firmware updates. Unless something has changed with the most recent update, I can confirm that it works fine with El Capitan on an even older Mac than the one you are using. Having said that it does have significantly more RAM than 4GB.

Thanks, I think my next step will be to add RAM - got a couple of slots still empty.  So I think I'm all good.

1 hour ago, Frank Blank said:

1. If you want to edit your parameters via a PC/laptop then you use HX Edit (much simpler IMHO than using the Stomp itself) I can't find anything that shows minimum system requirements unfortunately.

2. Yes it is possible but 'better' is difficult to quantify.

3. £409 at PMT seems to be the cheapest at the moment, no doubt someone will be along to shoot that down if I'm wrong.

Thanks, by 'better' I'd read that converting the signal back and forth between the stomp and the audio interface can cause some degradation in sound quality and you're better just using the stomp as the interface itself via the USB.  That being said I would imagine the degradation in quality is so minimal that my ears probably couldn't pick it up.

22 minutes ago, Frank Blank said:

Yes.

Straight to the point.  I like it.

Ok a couple of concerns to alleviate then I think I will pull the trigger today.

1. I see a lot of chat about updates.  I assume some kind of software is required for this.  How likely is said software to work smoothly on a 2010 mac running El Capitan with 4GB memory?

2. Is it possible to record via USB from the stomp into logic or am I better just running via the audio interface as I mentioned above

3. Anyone know the cheapest place to order from?

So, here's the deal.

I'm using a 2010 Mac in my kitchen to record on logic.  I record both guitar and bass, mostly rocky/metally stuff but some ambient solo bass stuff as well.  All my effects to date are added in the DAW using amplitube, waves etc etc but in it's old age the mac is starting to struggle a little.

I was thinking the stomp might be useful as I can just add my compression, distortion/whatever I need for my tone in the stomp, plug the output into my interface then record directly in the DAW which would remove the need for processing in the DAW and hopefully saving the CPU and stopping logic from crashing everytime I try to do anything fancy....

Is the stomp the thing for me?

If you like it, learn it.  If you don't, don't.  There are a million different ways to be a great bass player.

Patitucci announcement may have swayed it for me but I can only go on the Sunday.  Is there an itinerary/schedule for whats going on on the separate days available?  Wouldn't want to book flights, tickets and accommodation to find out Patitucci clinic/performance is on the Saturday! @LondonBassGuitarShow

Yeh, there seems to be absolutely bugger all information about what is actually happening.  For something which is due to happen in 2 months that's a bit worrying.......

Class! good luck with this, would love to have the ability with a chisel, drill and my hands in general to do something like this without destroying a perfectly good bass!! 

Are you going for the extra strong neck joint with the angled screws too (not sure if he made that modification himself on the 'wife' bass or if it was something that came along with the Yamaha)?

7 minutes ago, No. 8 Wire said:

I've got no problems with Scott making money, seems very strange to begrudge a musician (especially a talented one) making money from supplying a service that is in demand.

I'm a lifetime member and I don't object to the external courses but I think it's a shame as it will change the dynamic of SBL.  A great attraction to me was the all inclusive nature of what SBL offered and the lifetime membership.  Without these things I could see less people staying on in future.

In fact the only choose I'm disappointed is going to be external is the upcoming Nolly Getgood course.  I would love to do that but can't justify it over and above my SBL subs.  Also, there is no metal content in SBL at all, so I think that really would have been a great addition.  Also a missed opportunity to get younger (non-jazz) players into SBL, as this could attract them in.

I didn't realise the Nolly course was going to be external either.  That's disappointing for me too.  Totally agree with you about that lack of rock/metal too. 

I'm a member.

The way I see it is that when you weed through all the commercial marketing tactics designed to make more money, at the bottom of it all is a very good online resource for bass players.  It won't replace one to one teaching, but I can't really afford that right now, nor do I have the time - so it's a good fit for me and I'm sure many others.  

The company itself has changed a lot over the past few years.  In the beginning it almost felt like a small community.  Now it's basically a corporation doing exactly what corporations do -  everything to maximise revenue.  There's nothing wrong with that in my eyes - Everyone needs to make a few quid.  As I said, when you weed through all that there's still a very good online bass guitar resource at the bottom.

I'd say they've weighed up forecasted revenue if they offered the course for free verses revenue from charging paying members and the 2nd option won out.  It's all calculated business now.

I use it loads, easier fretting hand positioning for higher register stuff and I'm in a wedding band so we constantly shift keys about for the singer.  Fiver just makes some of the weird keys easier and sound better (we play Don't Stop believing in Db!), plus uptown funk and a load of other new Pop songs have been written on a five and I sold my Octave pedal a while back!

Context of the song, dynamics and timing are the three most important things in a drummer for me.  

You can have the best timing in the world but if you don't play to the song it will sound stinky poo.  You can play to the song and in time but not get the dynamics right and it will sound stinky poo.  You can play to the song and dynamically but not in time and it will sound stinky poo.

For wedding band/corporate function stuff kick needs to be tight, hit with confidence and locked in.

Solo to Elevate by Winery dogs:

Some More billy Sheehan:

And some Cliff for good measure

I do play things other than Metal I promise........

If I'm making a specific effort to study a bass player because I know it will improve my playing then I'll force myself to listen to stuff I'm not really that into.  If I'm just listening to music for pleasure I'll never force myself to listen to something just because the bass player is good. 

I spent some time a while back transcribing teen town - musically it's just not my thing, would never put it into a playlist to listen too for enjoyment.  But I have taken things from it and incorporated them into my own musical endeavors so it's still a win. 

MXR M82 in mint condition for sale.  Getting rid as I'm downsizing everything and effects had to go too.  Pedal is in perfect working condition, velcro on back for ease of pedal board attachment.

One of the best envelope filters about, sounds great from burpy 16th note funk to sweeping electronic drawn out notes.  Pretty much covers everything you could need in an envelope filter.

The YouTube stuff seems to be a more common complaint these days, but if I remember correctly there was some sort of change to the Youtube algorythm lately that prompted a need for longer videos to keep your visibility up or something like that.

Anyway, I've been a member for the past 3 years.  I've learned a lot.  I would go as far as to say Scott's 'Harmonic Layering' course on there is the best thing you can do to learn about harmony aside from a one to one teacher.  Even then some one to one teachers are awful.

The other thing he really drives home is the need to actually put the work in if you really want to get better - which is the thing which has probably had the most impact on my playing.  I never had a structured practice routine until I joined, now I do..........

So yeh, I would recommend him!

3 minutes ago, pbasspecial said:

It's a mixture of both covers and originals.  The keys player knows the songs (on keys) and can also play bass guitar.  The singer is just trying to take the path of least resistance. Getting a dep in would have been a better musical solution maintains the integrity of the band but I don't think he could be bothered in having to start from ground zero.

Get a good Dep and you shouldn't be starting from ground zero.  Is it an originals band that plays a few covers or a covers band that plays a few originals.  If the former I'd jump ship, if the later I'd also consider jumping ship but would be less likely to do so than if it was all originals.

I'm assuming this is a covers band - if it was original stuff, my answer would be completely different.

I'm a bit confused why they (or you?) don't just get a Dep in.  They're planning on paying rehearsal time for a keys player to learn bass, why not just pay a dep bass player and have keys and bass on the night?  

Kill it.  Kill it with fire.

On 4/27/2018 at 14:46, Dan_Nailed said:

I had a red Rebop 5DLX for literally 6 weeks when we played that gig (25th Sept 2009), that's what made me want a Euro neck through with black hardware (and proper EMG's to boot). Ended up selling it back to the guy I bought it off as he had made a mistake, went back to my green fretless NS5JHCM (which I sorely miss as I sold it to a young lad in California) until this bad boy arrived. I also sold my REX 2000/5 to someone off here, he was from the north east somewhere and I met him in Leeds train station - I often wonder about the fate of that bass as well. 

I remember that gig well as a load of people from all over the north came to watch it, Paul from Dawn of Chaos was there as were a few others!.A Turkish guy tried to buy a load of our merch with a £50 note and nearly gave me a heart attack as I was running around Leeds trying to get change. Good times!

I'd gladly buy it back but I have to move house in 6 weeks so am absolutely on my derrière cash wise!

I know the feeling man..............