NickD

For both music and life in general...

"It's all much too serious to be serious about" - Daevid Allen.

I've just returned the Bass Fly Rig 2 to Guitar Guitar, after having it on pre-order since they announced it. I really wanted to be impressed, but wasn't.

I do have a Helix LT that is mostly used for recording, but having previously had the first Fly Rig, and moved it on for want of an effects loop (I grabbed a Valeton Dapper to replace it at the time), I figured the V2 would be a great analogue solution.

For some reason I just didn't enjoy it's tones as much as the first version. Being able to switch between gain levels was cool and the Chorus is still great for all its simplicity, but I found the bite switch introduced more hiss than I was comfortable with, as did the compressor. I didn't notice any significant improvement in the octafilter section. I don't think the tracking is particularly good on the octave alone and I wasn't keen on the fuzz tone. The filter part works nicely when used independently though. I know this is not the purpose of that section though, and that the 3 dimensions are meant to work together for synthy sounds, but it didn't do it for me. As a small, portable solution, for all it's budget-ness (if that's a word) I still think the Valeton is a better unit for my purposes. Your needs may be different though, obviously.

These are all bloody excellent!

I'd look towards whatever DAW you use. Mine (Cubase Elements 10) has some really well thought out comps, EQs, effects, etc, and I'm guessing pretty much any DAW has very similar stuff.

You could record the raw track, take a duplicate and 'fix' it, or you could set up the sound as you want, then take a duplicate and remove the enhancements, providing both for the client so they can do as they will depending on their skill level or taste.

6 minutes ago, 6feet7 said:

I haven’t played in anger with it yet, so you might have just saved me a load of money. I’ll find out next time I manage to actually play loud. 👍

It's worth a try first. There could be other factors about the bass I guess (Ash & Maple on Maple) but probably not.

I do use a helix or sansamp at home, but in the rehearsal room it's just gain up to just before clipping, a touch of VLE and it absolutely barks out every note. I ended up using it for everything on the album we're about to drop (do the kidz still say that?), and I love the tone we got from it. It's probably a good idea never to change anything until you've turned it up and really dug in a bit.

Wierd!

My passive Jake 5 has the Delanos (P & MM), and with the amp cranked I find them as rude as hell. My Elwood 5L has the Haussels (J & mini MM), and while they're warmer and more vintagey, they lack the brashness of the Delanos. 

I'm relatively new to EUB, but I went for the NS Wav5. It's only a piezo pickup so output is pretty low if I record straight into my interface, but through the Helix it's fine, and straight into my Markbass Combo, with the instrument's tone rolled off it sounds great.

3 Sigma sell IRs based on some acoustic basses, there are samples of each on the website. I bought the 'Berlinner' one (an 1894 Lowendall IIRC), and it sounds really good my ears.

I'm not sure HMWYRS can be topped, but I'd offer Ghost Town as a contender.

They're handy for home recording, and the 3 piece arrangements we're working on kinda need a gritty core tone, an octaver, and some reverbs and delays for the more chilled passages, but if I'm jamming with/covering for a friends rock band it's bass - cable - amp, with a clip-on tuner in the bag.... and I love it that way.

I really liked that first Kingdom Come album when I was a kid (the one with Get it On.... er... on).

Sure a lot of it is pretty blatant, but Zep were the early masters of that anyway. Plus it was better than the stuff that Percy was putting out at the time.

I'm sure PP will play ball. I bought some drum cases for my partner that were collection only a couple of months ago. He opted for PP over cash which surpirised me (guess he wanted to make sure I'd turn up). We had to swap codes before PP would release the money, we were both surprised at how tight the process was.

12 hours ago, SteveXFR said:

During discussions around song writing I tend to keep quiet and listen to their ideas so maybe I come across as not being as interested or not wanting to contribute. 

See... we now know why you're quiet in songwriting discussions, 'cos you told us. It sounds like you all get along, just mention it, make sure they know why too.

I'm guessing most of us have a touch of impostor syndrome from time to time, regardless of relative experience/ability/whatever. The 'I've no business being here' thing seems common in every artistic endeavour.

Regarding not always being able to deliver on the spot, lack of confidence is often a blocker there, being afraid to be wrong. I worked with a guitarist who, when on the spot would almost sieze up, but next rehearsal would come with something perfect, and be able to improvise around it... some people, again regardless of experioence, need to take stuff home and get their sh!t together.

1 minute ago, Kev said:

Nail on the head, and the entire point of this thread

Crap... I missed Alpher of the list!

33 minutes ago, Kev said:

What??  Fantastic that you live such a privileged life, but perhaps a £1k or so investment on a bass is a lot of money for some people?

Bit of an overreaction no?... and a fairly stupid assumption to boot, nicely interpreted there!

She said dream bass, she also didn't say she'd bought it. I'm guessing most people, myself included, haven't been in a position to buy their dream bass. But given it's a dream, I'm not going to dream about something perfectly competent, when there are classics and works of art, and phonomenal sounding basses out there.  Guess people have different dreams. 🙄

There's a Ibanez in the bedroom (the Mrs' old SR300), it's a great bass, but y'know... Fodera, Sadowsky, Ritter, Spector, ACG, Wal.... 

And I've had a Mondeo.... But I still dream of a Noble, or a Shelby Mustang GT.... How terribly privileged of me.

Usually the only disappointment is that I still sound like me.

I'm not sure how I understand how anyone can 'dream' of an Ibanez.... That's the car equivalent of dreaming of a Ford Mondeo. Even their posh ones, that's like dreaming of a high spec Mondeo.

Not a dream bass, but folks were raving about the Lakland Skylines as great bang for the buck, and I bought a really pretty, natural finish 5501. I liked everything about it, except for the fact that the neck was on the pi55. The dots got progressively more misaligned with the A string as you got further up the neck. I looked around and found that every other example was like that, jeez... sort your jig out! It bugged me, so it had to go, shame.

Well... they've landed on UK shores... Let the fun begin!

Going by Basschat socials, shouldn't it be 'A Bash' of bass players?

A Rumble?

Congratulations. Loved the classy cinematic...ness of it. We'll deserved!

Another quality crop!

It doesn't matter how odd the pic is, it always triggers some great creativity.

Desk Monkey?

7 minutes ago, Rich said:

The 3 members of The Hamsters used to go by the stage names of Snail's Pace Slim, The Rev. Otis Elevator and Ms. Zsa-Zsa Poultergeist.

And IIRC Ms Zsa Zsa Poltergeist had Focal Distonia before it was cool!🧤

Now I know it's not taken anymore, I'm considering Eileen Regina Edwards.

If you're in Scotland and you're struggling to source either bubble wrap or gaffa tape.... this guy is your problem!🤣

I had a few CDs from Mike just now, all arrived with me in absolutely great condition, he took absolutely no chances with the packaging, even Hermes couldn't hurt them. Great friendly comms from the start, and a quick turnaround. Highly recommended.

The most obvious to me is on the Mamas and Papas 'I saw her again'. The false start in the third chorus. Apparently they did try to kill it, but it was still there in other mics.

https://youtu.be/4vaIBZCLUQU