EBS_freak

Not wanting to go against what cuzzie has said - but it depends. Depending upon the driver and the cab design (which becomes of minimal importance if the speakers are close miced), the speaker can be flat(ish) or display certain characteristics, such as pushed mids, recessed highs, recessed lows or a combination of all. A bit like a mic really. The thing is, speaker emulations are generally EQ based - so if you do take them out of the equation, you can get a fairly decent approximation without too much effort, certainly good enough for live situations. If you want to go further, then yeah, you can get some very comprehensive modelling on the go - with IR response and all! All this stuff is built into your modern modellers. The idea is that the modeller gives you the sound of the amp and cab you would hear if it was miced up in a studio... and then that sound is plugged directly into a live sound desk and off you go. Plug it into a FRFR powered cab (e.g. a cab that is flat and characterless - hence doesn't influence the sound) and you have a traditional rig replacement where you don't have to run it stupidly loud to get all the valve drive etc that people desire.

There's nothing wrong with amps - I love amps. Tech has moved on, which gives people more options now, options that actually sound good (unlike modelling solutions of yesteryear) - and depending upon your situation, you can make life so much easier, both in terms of moving gear about and getting a better band sound. If you haven't figured, I'm all for silent stages and IEM mixes. Being able to hear all the detail (and no post gig tinnitus) in your monitors and cleaner feeds to mix the front of house with. To be honest, between the big name modellers, they can all produce great bass sounds. I use a Kemper - and actually use a channel strip profile instead of an amp. I can plug that in, any volume, I know it will deliver the goods. Same with a Helix - I know plenty of people using Helix now, both for bass and guitar. They don't miss their amps and enjoy the additional flexibility of carrying around a load of modelled amps and fx. The key point is, these things are indistinguishable from the real thing now, especially live. Anybody who thinks otherwise, is kinda kidding themselves. Blind tests have confirmed this! If you look around on bass chat, theres a fair few that have made the move to modellers and IEMs, or modellers and FRFR setups. I don't know anybody who has regretted the move. In fact, a great deal of them have sold off all their traditional bass rigs.

You rotter, you.

I watched his youtube video earlier. That was a long video to regurgitate the same as what the hosting company put out!

Indeed - you got to start somewhere! In a modelling world, if you get it right, then assuming you are playing with moderately consistent gigging volumes, then your desk is EQing to primarily cater for the room. Of course, if you have the ability to tweak these sounds in a band context, you are making the sound guys life that bit easier (assuming you have a good ear that is!)

Brilliant - good to see you round these parts again

To our American friends. Buckfast is banned in the US. Apparently mixing large amounts of caffeine with wine is not good for keeping the peace.

Oh crumbs. Looks as bad as my neck of the woods. All I can say is, thank the heavens it's Little.

Surely the Scots have their own category?!

Yet more unwanted noise to mess with the mix.

I'm not sure that you would have dug on the offerings of ART and co from back in the 80s...

Skanks post reminded me of this blinder - https://www.iwm.org.uk/history/tips-for-american-servicemen-in-britain-during-the-second-world-war

and chicken that smells of swimming pools.

Why? Have Meg and Harry boarded a plane?

Bostin' ta.

Am I only person that is disappointed that proper fish and chips aren't served up in newspaper? I wonder if we can reinstate it now we are out of Europe? Oh, and to our American counterparts - yes, we do eat food that looks like that it has been consumed previously.

Listen, I'm from Wolverhampton. I know my place in society.

Helix Stomp - £429 RCF 735 or 745 - £719 or £1045 vs. SVT/CL or SVT/VR - £1919 or £1549 Ampeg 810 - £990/£1139 Actually, the Kemper option looks pretty cheap in comparison. In fact, you could buy a pair of RCF tops, a Helix, and onstage RCF for a comparable price to just the SVT - if you didn't want to go IEM. And your band would sound heaps better for it.

Roughly the same as in green shield stamps.

No scouser robs on their own doorstep it would seem. They all hop over to Manchester.

I'm offended by this picture. It's Pound sterling on these shores.

Hence my compromise bit. It's like all those folk that want an in and out mic on their kick drum. Just get the sound of the click and gate to a sine wave if you want that low end (without all the shyte lower frequencies that are a nightmare and picked up by that mic)

Indeed. Apologies, I usually don't refer to engineers in a gendered way. Funnily enough, a couple of really decent engineers I know are female. And they stand for zero sht.

A Helix Stomp, really? And there's loads of pubs bands backlines resemble those found at Wembley!

OK, its for a predominantly vocal performance - but its perfect in showing that he's earning his money there. I'm guessing that talent are all on headset mics, so no artist control of mic technique. They care about singing - the rest, the reverb, EQ, delays are all under this man's control. Every line, for every performer, making sure every piece of diction is perfectly reproduced. What I do know though... is that I can guarantee that nobody in the audience appreciates that work that he has been doing all night.