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About Osiris

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    Alright me duck?

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  1. Osiris

    Which Helix?

    Another Stomp user here. As the lovely @krispn says, your needs will determine which version is the right one for you. The Stomp was the obvious choice for my needs as I gig with in ear monitors so the amp and cab modelling help to give me a more familiar bass sound, you can probably get something similar using one of the many EQ options but I like the different characteristics the different models offer. My core sound is made up of just 2 of the 6 blocks that the Stomp has, an amp and cab in one and a 3 band compressor in the other. Some guys on here use more complex signal paths for their sounds but I like to keep things simple, it makes problem solving easier if there's bad acoustics in the room. The only other part of my sound is a high pass filter but that's done via the global EQ so it doesn't impact on the block count. Both blocks of my core sound are always on so do not need to be assigned to the foot switches. The limited number of foot switches seems to be a common complaint against the Stomp, you have 3 on board and can add a further 2 via an external foot switch if you wish. On top of the core sound I have a drive and reverb together on foot switch 1, a chorus on switch 2 and pitch shifter for drop tuning on 3. The tuner is accessed via an external foot switch. That's more than enough for my needs, indeed I could lose the chorus without ever missing it, the drive isn't that essential and the drop tuning can be covered by using drop D tuning on the bass, but as the Stomp allows me to add these to my existing sound I'm happy to use them. If you're needs are fairly basic then the Stomp is an obvious choice. If you currently have a tectonic plate sized pedal board and want to recreate that then you'd be better of with one of the bigger options. There's no right or wrong answer, just whatever meets your needs.
  2. A damaged nerve in my left wrist (plus the fact that I'm a bit of a short ar5e) forced me to move exclusively to short scales a couple of years ago. Two of my basses are 30" P/J's, a Mustang and a cheap and cheerful, but none the less superb Ibanez Talman. Tone wise I love that Precision punch so tend to favour using the P pickup without often dialling in any of the bridge. I'm sure that there's some science behind it but I can't remember what it is or where I read it, but short scale basses tend to have an inherently darker sound than longer scales. I've certainly found this to be the case in practice, but it's nothing that can't be resolved by changing your EQ settings. For example, when playing 34" basses I liked to keep the EQ relatively flat, not the most exciting sound on its own but one that works well in a band situation. To get a similar tone with my short scales I find that I need to back off the bass and low mids while boosting the treble and upper mids. You may struggle to get those glassy Marcus Miller highs with a short scale but if you're using a Precision that's probably not the sound you're looking for anyway. But that P magic is in the punchy low mids and with some experimentation with your EQ you can still get that sound. Some might argue that it's close but not quite there, whatever, it's certainly close enough family to my ears. There was a YouTube video doing the rounds a year or so ago comparing a number of different P basses and there was a surprising amount of variation between them; all recognizably Precisions but each with their own voice. If you were to append that video with a suitably EQ'd clip of a short scale P I suspect that few would be able to tell much difference in a blind test. Incidentally, I find short scales so much easier to play. Whenever I pick up a full sized bass now it just feels cumbersome and awkward . It makes me wonder how I persevered with them for so long!
  3. I used to use a Zoom MS-60B (pretty much the same effects as he B3 but in a smaller format) as a tuner, high pass filter and compressor and never had any issues with it when regularly gigging with it over 2 or 3 years. I also have a B3 as part of my home practise set up, one output goes into my practice amp, the other into a little mixer so that I can play along to tracks or a drum machine and mix the bass in with them. The B3 is set up similar to the MS-60B but with an amp model to simulate a more backline sort of sound. Again, no complaints with the B3. Like you I'm not really an effects guy, I'm more interested in getting a usable sound and in my experience the Zooms deliver. Yes you can get 'better' quality modelling with more bells and whistles with something like the Helix Stomp but that obviously comes at a price, but the Zooms performs well considering their price.
  4. Absolutely love the intro to this track but once the band kicks in it just falls to bits.
  5. No, I need take some time out for personal reasons. I've been gigging pretty much constantly for more than 30 years now and I just need to take a break. I've got no intention of doing anything else musically for the foreseeable future, but that's not to say that I'm never going to play or gig again. I'm guessing Harrow would be a long old commute for you up to sunny Northampton 😀
  6. I'll be leaving my band, Candy Slam, shortly after 9 years of service so they're on the lookout for a replacement bass player. If you're interested please contact the band directly through their Facebook page - https://www.facebook.com/Candy-Slam-106587331438/ The details; Candyslam are looking for a permanent bass player to join us from Jan 2020. Start date has some flexibility and our current bassist can be on hand to help you settle in with set list etc. Gig audio is also available. We are a 5 piece, female fronted pop and rock covers band, our set list includes The Killers, Blondie, Sterophonics, Donna Summer, Belinda Carlisle, Foo Fighters, Robbie Williams and many more. We currently have 23 gigs lined up for 2020, mostly pub gigs around Northants and Leicestershire, we also take bookings for parties and corporates. We are looking for someone of a high standard who enjoys playing varied styles of music. We run all the instruments through our digital desk, so being able to DI from a modeller or preamp would be required. Also a set of in-ear-monitors and belt pack would be an advantage although not essential. Front woman still uses a wedge monitor, so there is still some sound on stage. We take our music seriously but our main reason for being on stage is to have fun and to entertain. If you are interested or know someone who might be, please contact us by Facebook messenger or talk to us directly if you already know us. Look forward to hearing from you! Cheers - Candyslam
  7. Yes Please Short scales especially Mustangs, Precisions, Jazzs, P/J's, passive pickups, Ric's (looks and sounds but not the necks), black hardware, chrome hardware, block markers, round wound strings, matching headstocks, thunderbirds, old 80's pointy BC Rich things in ludicrous colours Meh Active pre-amps No Thanks Sunburst (absolutely [email protected] minging), tortoise shell scratch plates (equally minging), Sunburst and tort combined (is there anything truly more disgusting?) Gold hardware, Stingrays, Ric necks, flat wound strings, ultra light strings, fretless, anything with more than 5 stings, anything that weighs a ton, Turdburst
  8. Likewise, I recently picked up a Fender Downtown Express pre-amp, it's a cracking sounding unit with a great EQ and drive section but it's a shiny anaemic gold colour, that subtle shade of yellow you only see in the contents of discarded plastic pop bottles by the side of the road. And as if that isn't awesome enough, the font is white. On a shiny washed out gold background. Really?
  9. Failing that, what about marking the daft knobs with some tippex, a marker pen, a sliver of electrical tape or something similar? Something that can easily be removed should you decide you don't like it or wish to sell the amp on? But yeah, shiny knobs and fascias might look cool in the shop but are useless on stage.
  10. I've seen something similar on YouTube (can't remember what video it was now) where they used a flat (rather than a round) shoe lace to wrap around the shaft below the knob and then pull the lace up slowly but firmly to remove the knob. Is there room to squeeze a flat shoe lace around the recess? More innuendos are available on request.
  11. Oh, and; d) if you drop something on the laminate floor and take a chunk out of it you can saw a couple of inches off the finger board to patch it up with.
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