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Greg Edwards69

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About Greg Edwards69

  • Birthday 23/02/1976

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  1. I'm not sure about that. I highly doubt people are purposely not going to gigs so that can stay at home watch a live stream from someone's iphone instead.
  2. Just goes to show, it’s horses for courses. The neck profile is one reason why I’m selling it. I just can’t gel with the wide thin profile. I prefer something chunky.
  3. This is a great value and reliable bass, but I need to thin the herd I bought this used from Gig Gear in Harlow a number of years ago as a backup to my LTD2 Attitude. Built in1992, I believe and is great condition for a used. A handful of marks that were there when I bought it but is quite consistent for a bass of this vintage (the control cavity cover still has the plastic on it!) As I wanted this to be a backup to the LTD2 I replaced the pickups with the same Dimarzio DP146 “Will Power” split P and I installed an Ultra Jazz at the bridge - the most powerful Jazz single coil I could find. Unfortunately I do not have the original pickups anymore. You’ll notice I have added a couple of pieces of pickguard material to the top of the P pickup with double sided sticky tape. This is so I can seat them lower but use the surface as a ramp. Unlike Billy Sheehan’s expos method, this is completely reversible. Unusually, this bass has a 3 way switch and master volume and tone. Wide (45mm at nut) flat neck with rosewood fingerboard with a deeper more solid neck joint than other basses. Heavy duty Yamaha hardware (although the hex in one of the saddle screws was stripped when I bought it). Schaller strap locks (I may have the original strap buttons somewhere). Rotosound Billy Sheehan strings installed, but they will likely need replacing soon. Beautiful Crimson Red finish. Appears to have a subtle sparkle and changes from red to pink in different light. I will include a levies strap with the other parts of the strap locks installed. Local pickup would be preferred (Southend-on-Sea area, easily accessed from London). I could meet in London if preferred. I can include a Warwick roackbag gig bag with this option for another £40 I’d rather not ship but I can do if necessary for a fee yet to be determined in a good quality Squier bass guitar box (gig bag inclusion not possible)
  4. The only issue I have with his videos is the pointless ‘behind the scene’ waffle, often from his car or on the stairs up to his studio, that takes up the first couple of minutes of every video. Just get on with it Scott!
  5. We had our first gig since March last weekend. An outdoor event for a biker club in Pitsea (yeah, glamorous!). My playing was fine, but physically - well, let's just say I was out of practice of playing for extended periods of time, even with a couple of rehearsals - my back is still aching! Looks like the rest of the gigs we've had in the diary have now been cancelled. Only had three more this year two have cancelled and we're working on the assumption the third one will be. The inside scoop from a soundman at a prolific local music venue is that they don't expect live music to start up again until at least March 2021. If not later!
  6. I find that easier with older songs - pre 'protools' era. Song structures tended to be simpler. These days there's song much chopping up and rearranging of song structures done after the recording process, song rarely adhere to a simple structure. Similar to my post above - the bass lines of modern songs are usually technically easy to play, but remembering the structures is the most challenging part.
  7. For me it's "Get what you give" by the New Radicals. It's not a technically challenging bass line by any stretch, pretty simple to be honest. I just have a job remembering it all! There's a lot of beautiful chord voicing shaped by the bass note choice that seem to change every verse and chorus which make it dynamically interesting. Not to mention the tasteful fills here and there at the right place which I seem to forget when to play them.
  8. I must admit, it irks me somewhat when people bash companies like Behringer for ripping off other companies designs, then it transpires that they play a Fender shaped bass that isn't made by Fender.
  9. In the hole on the front bass skin. Acts like a bass port on a speaker cabinet. Their youtube channel has a load of information and demos of it. https://www.youtube.com/user/KickportTV
  10. Our drummer has a roland bass drum trigger alongside his acoustic bass drum pedal which he plugs into the spare channel of my headrush frfr speaker. Usually reserves it few a few songs though, but it sounds great on the odd few 80s pop tunes or modern dance tracks that need 'that' sound. His acoustic bass drum however has been fitted with a 'kick port' device. Wow. I can honestly say it's probably the best upgrade any drummer can make to their bass drum. Tight, focused, deep and not flabby. Hardly needs any damping either. Although louder, it's more balanced with the rest of the kit, and often doesn't require mic'ing up in venues that usually require it. https://kickport.com/kickport
  11. I know what you mean. I sometimes struggle to hit the right pitch when using IEMs for vocals only. I've found using an IEM in one ear and an earplug in the other helps a bit.
  12. Sounds to me like a monitoring issue. What sort of guitar amps do your guys use and where are they pointing them? If they are having trouble hearing them when it's plenty loud enough out front it's likely a positioning and/or beaming issue. Remember, higher frequencies are more directional than lower ones. The other solution is to invest in a simple IEM setup. You could mic the guitar amps and put them through the monitor mix. This will also block out the crazy loud drummer. Another thought, I wonder how well the Phil Jones Ear Box would work with guitar amps? They'd definitely be able to hear themselves. https://philjonesbass.net/cms/index.php/product-eb-001/
  13. Same here. The gears on my Yamaha Attitude's Xtender wore out causing slipping. Unfortunately, the ones used on the Attitude are custom made for Yamaha. However, I emailed Oscar and he sent me some similar replacement parts free of charge.
  14. IME, the biggest, and potentially most damaging volume issues are at rehearsals in a small room rather than gigs. It's so easy to fall into the routine of turning up, plugging in and guessing the volume for the room. A methodical soundcheck based on the loudest acoustic instrument can work wonders for keeping the volume down. As much as guitarists don't like to be told it, they are not the most important part of the sound, they are the colour and flavouring. Typically, we start with drums, mic the bass drum if necessary. Then add bass guitar and it balanced with the drums. Lead vocals next, then guitars, keys and backing vocals. It's pretty easy and quick and stops the volume war before it has a chance to begin. Once we've done this process there is absolutely no reason for anyone to adjust their volume control. We also do the odd 'technical' rehearsal every now and then. Particularly as myself and both guitarists all use Helix devices, and our drummer has a digital sample device with a couple of pads and pedal trigger. So it's handy for setting patch levels and eq's at gig volume just to make sure everything's fitting together nicely and there's no massive volume spikes (or worse, not enough of a volume boost for solos)
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