Bass Gear News!

jbarks

New member
I figured since the geet*rists have their own gear news thread, we should have our own too.. 8)

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Line 6, Inc. announced today the newest addition to the LowDown™ line of bass amplifiers, LowDown Studio 110. With superb tone, and flexibility for live and studio use, LowDown Studio 110 offers sonic flexibility in a convenient 1' foot cube with 75-watts and a custom-designed 10-inch speaker.

"Studio 110 offers pure rock bass tones in an affordable combo designed for the gigging and recording bassist on the go," said Darrell Smith, manager of amplification and sound design, Line 6.

LowDown Studio 110 has four essential bass amp models and an incredible bass synth that deliver dialed-in tones for everything from classic funk to modern rock and beyond. LowDown Studio 110 also features a modeled vintage studio compressor, headphone out, CD/MP3 in for jam-along, a studio quality XLR direct out with Line 6's exclusive Bass POD® amp and cab modeling that's the "go to" for studio direct recording and a line level Preamp Out. "Using the LowDown Preamp Out, you can easily take your tone from studio to stage simply by jacking into the house or rehearsal studio rig," explained Smith.
 
What else did you expect from a company famous for moddelling tones after famous brands. They will only sound close to the real thing.
 
play the real thing? i wonder how many of us have.

amp modeling to me is the future of music production, it pushes affordability coupled with high standards of quality. sure you may not get vintage SVT 3 tones from a beat up 8 x 10 cab, but apart from us scoring at the cash converters, how many of us can afford that, a fully analog mix desk and tape machine? coupled with a good studio space and mic just to record the bass tones from yesteryear?

this is a 1x10 speaker, very ideal for the apartments which majority of us live in. XLR output straight to DI or today's modern mixer and you're good to go to record a multitude of bass sounds and settings, one of which we will at least find satisfying to record with, experiment around with.

technology like this is pushing the boundaries as to what we can do at home and produce our own music. of course it will never reach the level that experience and high quality gear can give us, but at least we're not just sitting at home entertaining grandoise notions of owning gear we can only dream of affording.

if we took this seriously, we would be talking about our actual experiences as opposed to mere hear-say from what the magazines and 2nd hand experiences from other uses.
 
relax dude... i've played on one... at luther's... it lives up to it's reputation of lacking treble. and it's just what the mag says... you can take it with a pinch of salt... or don't take it at all..
 
I agree with you liford to some extent. The human ear can hear little difference between the two much less the average un-enlightened listener.
But I believe in pushing for the best, you will eventually get better gear along the way. Be positive man.
Meanwhile Line6 will keep do what they have been doing best. "Modelling".
 
I agree with you Corlando, we gotta try to keep pushing for the best in our craft, be it recording, producing, playing sesssions, perforance, etc etc.. and i'm glad you know what you want and what you like, and y'know.. it's that attitude that keeps all of us getting better.. that so-called dissatisfaction until we attain the holy grail, of sorts..

but yeah, my post was directed more at.. what happens whe we have to come to a compromise? also directed at more.. what can we do to get the job done? within a budget, within a time frame or a deadline.

if i had it my way, i would shoot all my film projects on actual 35mm film, but firstly, its expensive to pursue craft that way, and not everyone gets a huge budget to experiment around with 'grail' equipment.. so the compromise is video and video technology editing..

so there are many wonderful uses to digital, more than just what our ears can pick up..

my challenge is where do we start regressing into gass-ing and not improving, and when do we do something pro-active and work with the limitations that are beyond our control?

for eg. will a producer want me to track on his record because i can give him a variety of sounds and techniques or only one speciality. it's a fair question, and i would say that both have an equal chance of getting the job. whether, be it the 'specialty' of that tone/technique, or whether the producer prefers that variety and flexibility..

although i'm more inclined to believe that Nathan East is one of the more sought after session musicians.. -)
 
litford said:
my challenge is where do we start regressing into gass-ing and not improving, and when do we do something pro-active and work with the limitations that are beyond our control?


I'm heading there already... :oops:
 
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