Naigewron

It's perfectly workable, I'd say. Definitely won't have enough control for compressor nerds, but I only need it to even out my attacks a bit and give me a little squish feel under my fingers, and it works great for that for me. The voicing and attack switches give me some options, and the blend knob lets me mix in my clean signal to where it feels nice. No complaints, but it's definitely not a "studio grade" compressor.

My freshly rebuilt "covers all bases" travel board - Battery-powered for use anywhere and everywhere - Ultra compact, fits in the front pocket of my bass bag (23x15 cm / 9x6 inches) - DI out with cabinet simulation for going direct - Headphone output and aux input for quiet jamming - TC Electronic Wiretap for recording ideas on the go (or recording live sets). Can easily be reamped later The board is designed for "set and forget"; there aren't really any effects that are there to be turned on and off. Those footswitches are too close together to hit in the heat of the moment too 😄

A regular chord eats up 50-60% for me. Weird. Time to upgrade soon, probably.

Anyone else have really horrible performance on the Arturia strings library? It crackles like crazy on my system, both in the standalone EXE and loaded into my DAW. Even with a buffer size of 2048(!) it's completely unusable. Tested my other synth plugins to see if there was an issue with my drivers or interface, but they all work fine. My computer isn't the newest and hottest, but I've never heard anything like this before.

Love mine too. Used it on stage for the first time this weekend, and it did not disappoint. Cutting, punchy and ultra comfortable.

My Ibanez EHB 5-string is under 3.3kg (about 7lbs). Most comfortable live bass I've ever played, and the weight is definitely a huge part of it.

Yes I do, at least normal day-to-day setup (saddles adjustments, truss rod, neck shimming, etc). I've set up my own guitars and basses for 3-4 years now, but I was never sure I did it properly. Last october I handed my main bass off to a professional tech and told him to set it up for me, expecting to really feel a difference now that a "proper" tech got his hands on it. £110 later, I got it back. It felt nice and all, but there was nothing notable about it, and it didn't really feel any different. So as a result, I trust my own abilities a lot more now, and I know that my setups are good enough, at least for me and my hands. I'm not brave enough to file the nut on my own (yet), and I don't have the tools or know-how to do fretwork. Maybe some day though.

String choice is not an issue, I can put whatever strings I want on there. I can also hang it on the wall with no issues. All in all, I don't see a single downside with going headless. It even fits in a guitar bag.

Upgraded my EHB1005 to an EHB1505MS. No regrets, this thing is a beast.

I mean, that wouldn't be a bad thing either. There's enough variety in that box to warrant two different settings. But yeah, Microtubes X into Alpha Omega. Definitely a lot of options right there, and with the X set to full band compression it covers my modest compression needs as well.

They were, but I really find that I thrive more when living within a set of limitations and don't have every option in the universe available. Also, even though the HX Effects was really easy to program, there's just something about having knobs available. I tweak things all the time now, and experimenting is fun. The downside is that pedal GAS is kicking in again, so I really need to keep that in check.

Back to individual pedals after a long stint with the HX Stomp and then the HX Effects.

Of course they are. This has nothing to do with production capability. The problem is that they have to factor in how much a product will sell, and if that number isn't high enough they will lose money making it. Fender has the capability to make 4, 5 and 6-string versions of every bass model they've ever sold, along with fretless and left-handed versions of all of those again. But they then have to store them in their warehouse after production, sell them to retailers, ship them across the world and then hope they don't come back from the stores because they didn't sell. That's a lot of cost upfront, and then added risk over time.

My main gigging and band rig:

Good lord, this was... well, crap. In the words of a mate of mine: "The vocals ruin what could have been just a really bad song" And what the hell is up with that ambient bridge that just suddenly fades in?

Your most flexible option would probably be to find a free IR loader and look for free impulse responses.

Hotone Ampero One? Price and features sounds about right. It's got a touch screen too. https://www.hotoneaudio.com/products/multi-effects/ampero-one

Couldn't keep my finger away from the "Buy now" button any longer. In a week's time, this little baby should be arriving at my house. I only have one bass at the moment (a Sandberg), which feels a little risky when gigging. So rather than having two basses that cover the same ground, I figured it was better to go for something completely different. And it's travel-friendly too 😁

This is pretty much what a lot of people here are talking about, as far as I can see. The bass player clearly changes his playing under the guitar solo, but the feel of the song stays consistent. He plays harder, higher on the neck and busier, but he doesn't fundamentally change the mood of the song. I think most people in this thread are pretty much in agreement; it's just a matter of defining what "filling out" or "changing the part" actually means. In the end, it has to suit the music. In some cases, that might mean fuzz, chords and fills, while in others you'll want to really hang back and let the music breathe.

I've had my VM5 for a month now, and it's definitely delivering in a big way. Recorded a "live in the studio" video with it last Saturday, so I'm looking forward to hearing and seeing the final result of that soon. Here's a playthrough of one of the songs from the session that I did from my home setup. Just the VM5 straight into an HX Stomp and into my interface (bass comes in after the first verse).

Surely that depends entirely on context, song, band, style and a hundred other factors? There's no way you can make up a rule like that and definitively say that this is how all music works, every time? In terms of music style, those aren't exactly polar opposites. But let's go with another blues-based artist, and then you can tell Billy Sheehan that he obviously has no idea how to approach a bass part

Not as much as you might think. He obviously did a lot of different things through the songs and years, but Eddie often recorded rhythm guitars that would play behind his solos on the albums. So for the purpose of this thread (guitar solos without rhythm guitar) far from all Van Halen tracks are relevant. Have a listen to "Ain't Talking About Love", for example. In the solo about 2:40 into the track, Michael Anthony actually plays a version of the guitar riff behind Eddie's solo. In "Hot For Teacher", he plays straight 8ths (well, swinging 8ths), but it's a very busy, almost walking bass line, with a lot of fills, in order to keep the momentum and drive up behind the frantic solo.

Absolutely true, but most bands don't have a guitar player capable of taking up *that* much space, both sonically and musically. Or a bass player as good as Michael Anthony, for that matter.

German engineering, inspired by the classics but with a very modern approach. Not designed to be a speed demon, just exceptionally comfortable, versatile and will get you where you need to go.

I agree that single coils can definitely work for a three-piece, but these three pics are all of humbucker-equipped guitars.