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Going off of a lot of forum advice to change mentality from traditional guitar amp/cab to studio/PA sound engineering for an FRFR transition. So I'm trying to bring myself up to speed on understanding EQ usage and flattening out an FRFR rig (or PA). I've read a lot of posts on the Helix Global EQ (parametric and high/low cut type)and some suggested settings. I have adjusted it myself using just an RTA phone app and gotten some pretty good results. I think I am getting a grasp of some of the fundamentals. However, when you research traditional methods of EQ'ing for flattening a PA or studio, it seems a 31 band eq with some RTA auto-eq algorithms and an RTA mic are used. This also aligns with my RTA app and it's 31 band analysis capability. I'm wondering if a 31 band Helix Global EQ option would be useful. It seems to be industry standard. http://www.waves.com/plugins/geq-graphic-equalizer#geq-graphic-equalizer-overview http://www.music-group.com/Categories/Behringer/Signal-Processors/Equalizers/DEQ2496/p/P0146 http://dbxpro.com/en-US/products/driverack-pa2 I post this as I am considering a Mission Gemini 2 passive speaker with separate Matrix GT800FX power amp, and maybe 1U eq like the dbx DriveRack EQ or the Behringer DEQ 2496 if I cant all the needed eq with Helix. I can get all three for about the cost of a Mission powered Gemini 2 and have a much more flexible, repairable, possibly better quality / sound modular rig. I could also have room eq presets for different clubs / venues I play regularly, for both guitar and bass. http://usa.matrixamplification.com/rack-amplifers/gt-800-fx.html http://missionengineering.com/?product=gemini-2-p I don't really care for having the power amp integral with the cab. Every time I walk into my local music store I walk past the repair dept with tons of powered speakers with their amps and/or speakers pulled. Not that this rig couldn't fail too, but I have other backups of each type of component. FRFR is a big investment for me at about $1500+. Trying to get the biggest bang for my buck, as well as longest life cycle, best sound, most flexibility, etc. Anyway, I really appreciate the input all of the experienced and technical users in this group and thought some of you would have some expertise in the area.

There are hacks to free up blocks: https://www.youtube.com/watch?v=JlDhCZOOv9U&ab_channel=HeyWorshipLeader But the whole point of Pod Go is to dumb down the signal routing for people. You always have an amp, wah, volume control, etc. I made it work for me, after downsizing from the full-blown Helix. It's more than enough to get usable and diverse sounds-- if you use one preset per each song, like I do. Rather than adding a bunch of stuff to the signal path, like I do on the Helix, I started making use of various blocks' controls more. Like you can use a reverb echo, which can double as both delay or reverb... so if needed I can change various parameters and make all my 4 snapshots sound however I want. So take it from somebody who REALLY likes his effects--Pod Go is great and with some creativity can give you more than enough sonic variety.

Nothing "artificial" about that. That's old school stupid... as real as it gets. We've all been there, lol. Bob Ross used to call them "happy accidents"...;)

All those people you see walking around with headphones on, staring at their phones. They're not listening to music; they're being told when to breathe in and when to breathe out.

The more guitarist can sound homogeneous the better. As ai is only good at replicating existing forms and not capable of extending them the sooner it takes over tone the better and the quicker we will regress to the norm. I welcome my tone overlords with welcome arms.

Strike that ^ As of v3.70, I switched to the new "US Dripman" aka Fender Bassman Silverface, and have no plans to look back anytime soon. Sounds great in headphones with a dual cab, mixing 4x10 Tweed with 2x15 US Dripman, i.e. both Fender Bassman based. Sounds great both with the fretless J-bass as well as with the fretted Ibanez SR1200, although I use a separate preset for each. Sounds great without the cabs, going straight into the power amp of my 15" Quantum 415 combo. Haven't had the opportunity yet to plug the Dripman straight into a "live" PA. (note to my booking agents: get me more gigs!)

Definitely. Me too, most of the time, albeit fretless. (Otherwise also a fretted Ibanez SR1200, but meanwhile only for one pop rock band that I play with.) I'm simply using the classic Ampeg SVT-4 PRO model because it has an additional band EQ built in which allows for "surgical" fine tuning without having to use up more blocks. For direct PA or headphones output I have a separate Dual Cab block with 4×10" and 15" which can be ballanced to fine tune the sound even more. For stage monitoring I only use the power amp input (aka Effect Return) of my bass combo and thus bypassing the combo preamp altogether, going from the Stomp's Send Out via path split before the Cab block. Also, I have the Ampeg Opto Comp right before the amp, and an optional Parametric EQ at the end of the Send path in case I'd have to quickly adjust my monitor EQ'ing depending on the stage acoustics. Other than that, I also use an Autowah and Chorus block every now and then. I still have two blocks free for other use if needed. Initially I was even using the same preset for both basses, but meanwhile I have split them, with small changes to the amp EQ because – naturally – both basses don't have the same sound "out of the box". But apart from the logical difference in playing techniques and intonation, I actually wanted to make both basses sound basically similar, with a slapping EQ option for the Ibanez. (I'm bad at slapping though, and I only do it "against my will" because a few covers of that pop rock band require it… :D) So… the Stomp as a bass amp modeler works fine for me. :) (Edit:) See also my earlier more detailed post here: