Dood

Just reading reviews and there's a suggestion that the HD32-A outperforms the Yamaha DXR15 for low end extension. The QSC, well that's the only one I've heard doing bass (and actually that was the 8.2 which sound great!) So maybe it's between the QSC and RCF.I think the 745's would probably be very good, but I.. just...

Funnily it was only this afternoon I was looking at the 12.2 verses the Yamaha DXR15 online comparing the two. I rarely get a chance to leave the house to get to 'the stores' to try them out, so I was having a bit of a look at the details between them. Maybe to pick one over the other.

Crickey I haven’t seen these vids in years! Still holds up amongst even the more recent play though videos from other YouTubers. Great player who I believe moved to the UK some years ago but no idea if Marta is still on these shores.

Not anything to do with the thread at all, but just a bit of info' - the 80's JBS (PJ-555) actually had a jazz neck. However the one that Duff McKagan ended up with as his career exploded interestingly had a Precision profile neck. It was this bass that lent it's specifications to the currently available MiM Duff McKagan Jazz Bass Special. I agree that this is way more of a Precision Bass Special.. or, you know.. a standard PJ without a pick guard lol...

I genuinely was too! However, my own board certainly didn't have anything as incredible as say @andybassdoyle's impressive set up. I did eventually crack and take my all-time favourite drive pedal off when I made something I liked the sound of in Helix using a number of different effects blocks. Yes, it does take up room in my signal path on Helix but it's one less box on the floor. I have Native too and can confirm for those wanting to know, It sounds exactly the same as Helix hardware.

Oooooh, I knowowwwwww! Oh, I knowwwwww!

Cup what? lol... *I'm not anti-football. Very few things are allowed to get in the way of bass time, but I suppose I am in the minority in that it is my job and thus I can't allow distractions in work time. (Well, I try to not be distracted but working from home with a family on the other side of the office door is difficult!)

I think the price hike isn't anything unusual. I see it with PA gear often, where a new product will come out - and the time to grab the bargain is when one of the big outlets gets a ton of the units in stock, allowing them to shift lots at a low price. Looks great on their sales figures and nets a nice profit in bulk sales. As the initial madness drops off then they can start adding on the usual mark ups and that I think is here the price creeps up.* I could of course be totally incorrect but it does make sense to businesses who are trying to pile high and sell low.

It'd be great if the bass offerings matched those in Positive Grid's BIAS 2, which is insanely good on the amplifier sim front.

I haven't used the Helix's existing onboard 6 button looper in anger yet but I have sat and played with it for fun. I can actually see that the addition of this looper means that you don't have to come out of your 'signal path view' which will please my already daily confused head! The treble booster will probably be fun for my terrible Brian May guitar playing impressions

I really like the idea of a one button looper actually!

Looking forward to hearing your thoughts knowing your experience with other top IEMs!

Yup, I only wish that 'real life' was always as a nice a place to be as it is here. Pat on the back to you all at our virtual 'local' that is The Basschat Arms. Or is it The Dog and Bass. It's a friendly place that's for sure.

That's a beautiful 73!!!

Now, if I could only sort out a pair of studio monitors that I can take to gigs ... 🤣

yup, same here. Ok, so I have big monitors, so I can't comment on smaller ones! Actually I run everything through my monitors at home. My computer's audio interface I suppose is the 'hub' and my helix, basses, guitars, microphones, whatever all go in to it and out to the speakers. I rarely plug my gig rig in at home; come to think of it, now that I am on IEMs most of the time, I barely take my backline out to gigs either ha ha!

I have to admit I have never tried the on board limiter and I feel a bit daft now for having posting then to be reminded there's one on board. Hold that thought whilst I a.) Try it b.) slap myself with a large kipper...

Mwah ha ha ha haaaaaaaaaaaa. Lol

ummm... I'll be back? 🤣

GAS doesn't go away when you get IEMs.. Listen, and understand. That terminal GAS is out there. It can’t be bargained with. It can’t be reasoned with. It doesn’t feel pity, or remorse, or fear. And it absolutely will not stop, ever, until you are dead.... broke.

I've just put the song on Spotify for a listen, thank you. There's a nice bit of space for a bit of a noodle, yeah I like that, especially against the drone of the D in the accompanying chord. Good call!

Great thread! I actually came back to look at this as one of my students has asked about dissecting these sorts of bass lines. A personal influence for me (other than the obvious that I bang on about all the time) is actually Paul Gray who recently rejoined The Damned. Is playing is melodic and almost sings across the bass neck even when he's just holding down the low end. His playing is interspersed with melodic lines that reach up the bass neck, but never over play. First time I saw him play was actually with Captain Sensible's solo project. He rocked up with his 76(?) thunderbird and made that thing sound incredible. The band I was in played support and of course had a great time with the guys. Shame The Oval Norwich has long since closed as we had lots of great memories in there, but that's a discussion for another day! I love this track, Wait For The Blackout. But there are plenty of others to choose from!

Thank you @Jack and @Muppet, that really helps actually and no Jack, I don't think you made 'too much' of an issue. I'm just a fussy pants for the details. I appreciate the responses. There is, of course absolutely no doubt that the FR800 is a monster piece of kit . It may seem like I am picking holes, but that's really not the case. I tend to do that to everything I own, looking for excellence. The fact that you guys have come back and said that it's not a huge problem not having say a gain control in the real world means that I could probably live with it too. Sure, I'd configure the volume control on my Helix to adjust the onstage volume and leave the XLR's level fixed as I do now.

My thoughts exactly!