geoham

I’m never keen on handing over my name and email address to access something unspecified. Why do you need the data and how will you be using it? GDPR means you need a valid reason to process such data, and explicit consent is probably required. The big red ‘download’ link doesn’t fill me with confidence. The lock doesn’t confirm no viruses, just that the connection is https (i.e. - encrypted).

Met @karlbbb on Sunday to take his Helix off his hands. Very smooth process, great communications throughout, no issues whatsoever.

I’ve arranged to buy a used LT tomorrow. Fun times ahead!

Where are you seeing the LT for this price? Spent some time trawling yesterday and £769 seems to be the best.

Certainly an interesting idea, thanks.

Oh I know! The keyboard player and I just ditched our amps. We will get the guitarist onboard too!

That's definitely an interesting idea. He's very old school, insists on using a 4x12 stack, refuses to have a mic in front of it - because it 'fills the room' on its own, and to have anything coming back via the monitors will cause feedback. The result is a guitar-heavy sound for those immediately in front of him, whereas others can't barely hear it. Including me. We're all working on trying to enlighten him!

What frustrates me in the Zoom is that you need to have the three switches assigned to three adjacent units. Particularly annoying with two block effects. I’ve tried using presets, like creating a base sound, then copying this a few times with various effects. The problem is that I start tweaking during rehearsals, and things diverge. (I know, I’m rubbish!) I actually think I could get on okay with the Stomp, I just get a bit concerned I’ll end up getting frustrated with the lack of switches and end up buying an LT anyway. So, let me ask another question - does anyone have a Stomp and feel frustrated by its limitations? George

An interesting development!

I have considered it, I honestly don't see any me getting any extra benefit from the full Helix vs the LT. I'd never use all the extra connectivity options, and I can live without the scribble-strips. Unless I'm missing something...

So, I've decided I definitely want to move from my Zoom B3n to one of the Helix offering from Line6. I'm leaning towards the LT, with the Stomp also being considered. I'd appreciate the advice of anyone using either of these. I reckon the six blocks on the Stomp will probably be enough. I want to run an amp model with a cab (is this one block or two??), drive, chorus and octave. I'd also like to split the signal to keep a clean low end, and possibly even add a high pass filter. Where I have some concerns is switching between various effects with just two (or possibly three) footswitches. On a similar note, it seems a bit of a pain to switch patches without using an external footswitch. Compared to the Zoom, the Stomp would give a good bit more flexibility for signal routing (like being able to keep the lows clean), but wouldn't really be an improvement from a switching perspective. This attracts me to the LT, which like it resolves all of these problems - but also seems a bit overkill as well as costing a good bit more. However, if I consider the cost of a Stomp plus an external patch switcher, along with a small board to mount them to - it's a smaller gap. Final note - I'm not using an amp on stage. Currently just using the monitors to hear myself, but the band are considering in-ears. I double as sound-engineer for the band and we use our own PA, so I have total control of what's going on. So - to anyone using either of these devices, I'd love to hear about your experiences and feel free to try and convince me either way! Cheers, George

It’s being ‘co-located’ with the UK Guitar Show. I quite like the idea, means my Guitarist best mate and I can have a wee jolly to London! in saying that, I do expect it to be a guitar show with a hint of bass now.

I'm a massive Roger Waters fan, so almost selected him by default. However I think I'll go with JJ Burnel - often favouring a 'bass up front' tone and letting Joe Public know what a bass sounds like. For all the cover songs I've played over the years none have been more fun than 'No More Heroes'. George

I don’t know which Bartolini’s you have installed, but many come with the licences MK1s. If it’s these, you can definitely upgrade to better Bartolinis, assuming you can’t find Nords that fit. I’ve changed pickups on a few basses, and I’ve always been happy. However, it is definitely much more of a pain to try than other gear upgrades - do your research first. If your current bass feels right, and you’ve heard the pickups in other basses - then it may be worth the upgrade. But remember, the tone difference could be attributed to many other factors, even something simple like strings. George

Just a couple of points to clarify from my perspective. I don’t believe that going ampless is the the best solution in all scenarios, but for the pub band I’m in right now - with a good PA and monitors, and with me in control of it, I reckon it’ll work nicely. I’ve been in situations myself in the past where it wouldn’t be ideal - like a pub with their own PA that only has enough channels for vocals, and a sound engineer who refused to put bass through the monitors because ‘it’d wreck them’, or even my last band whose PA just wasn’t that great.

My own logic for looking at the Helix, is mostly a solution to several limitations with the Zoom B3n. - The fact that in stomp mode, the three foot switches are assigned to adjacent blocks, often requiring tap-dancing to get anything done live. - I’d also that like to be able to split my signal, keeping a (mostly) clean low end. - I believe I’d be able to use an effects return as a 2nd input, and balance the levels of both basses, making switching between then live easier. (Meaning my fretless could get out more!) - If my amp falls back in to favour, I could route a speaker-sim to FOH, but not route this to the amp. On the other hand, I probably wouldn’t use a great deal of the effects - amp/speaker sims, various levels of distortion and boring always on things like a noise gate and high-pass filter used regularly, with chorus, octave and phaser used sparingly. As impressive as the HX stomp looks, I think I’d still end up frustrated. The LT isn’t that much more really expensive really, and the full blown Helix doesn’t seem to offer anything more that I’d need. I think I’ve convinced myself by writing this.... I wonder if the wife will agree! George

Probably what I should have done in the first place... just downloaded the manual for the mixer. It can take unbalanced inputs from instrument level sources, as long as the run is as short as possible. I’m probably about 6 inches away from the mixer most of the time... shouldn’t be a problem. I’ll keep the Helix on the back-burner for now, but I’m really interested in giving in-ears a go.

It doesn’t have an XLR out, so I used the one from my amp. I don’t mind running it straight to the line-in on the desk if it works. Is that what you do?

I’ve booked The Hub at Kings X, not too far - one or two tube stops, or a 15 minute walk. Plenty of restaurants in the area, and well connected to the rest of London. I stay there for work a lot - the rooms are modern and clean, but tiny. I managed to get two nights for £100, though I booked a while ago. George

We’re working on it! He’s got a massive Boss pedal which apparently has good amp sims. He’s agreed to try it through the PA at a rehearsal instead of an amp.

What are you plugging the headsets in that allows four separate mixes? 4x separate wireless transmitters/ receivers or something more simple? Cheers George

In my experience, vocalists want to hear themselves above all else - but also a bit of everything else too. If that’s a compromise everyone else could live with, then one monitor mix could do the job. If not, everyone could theoretically want their own mix - which is probably beyond many mixers! I played a festival once, (with my old originals band), and we each had our own monitor mix and there was a dedicated monitor engineer. The sound was great, but I reckon our monitor mixes were pretty much the same. Regarding digital vs analogue mixers - I’ve seen bands use iPad driven mixers. I’ve never tried them, but the idea terrifies me! I’m constantly tweaking both the FOH and monitor mixes - particularly during the first few songs. Can’t imagine quickly doing that on a touchscreen with my left hand while I play an open string with the right! I’m generally not adverse to tech at all (my day job is in IT), but sometimes simplicity is what is needed. George

There’s a couple of us wanting to try this out. Cost is a major blocker - we’re mostly playing pubs for buttons. I don’t mind budget gear, but it seems that you need to shell out for decent in-ears. The other thing is the guitarist - I reckon we’d need him mic’d up to make this work. George