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Greg Edwards69

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About Greg Edwards69

  • Birthday 23/02/1976

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  1. Hi, did you manage to sell this bass or do you still have it?
  2. This is my thinking too, but it depends on the users needs. Cab blocks and IR’s are the sound of a mic in front of a single speaker, not the sound of an actual cab. If you’re used to the sound of a mic’d cab in the PA and fold back and don't hear you actual cab on stage behind you then go for it. For those of use who are used to going direct, or use back line to fill the room, then I would urge you to avoid cab blocks or IR’s and try a simple eq block instead. I use a simple high and low cut that brings my frfr speaker into bass combo realms - honestly it sounds like a real bass combo/ half stack behind me. Likewise, If you’re used to sending a DI signal then a sound engineer will normally top and tail it with hpf/lpf and eq it anyway.
  3. I think I read somewhere that switching the Stomp's input to Line works well to reduce the input gain in lieu of the input pad that the larger Helix devices have.
  4. The way that behaves depends on the bass. Active bass volume controls don't affect the tone, passive basses however are a little more picky.
  5. That's what I mean. Perhaps I didn't word my reply very well. What I meant to say is that your bass' output might be a little hot and therefore overdriving the input. Seeing as the Stomp doesn't have an input pad, and that you're using a compressor before the Stomp, you could use the volume control on the JHS compressor to reduce the signal level going into the stomp. Think of it like a global input gain control.
  6. It could be that your bass has a hot output. The larger Helix devices have an input pad setting, to accommodate this, but I don't think the Stomp does. Perhaps just turn down the volume on the JHS compressor so that it doesn't hit the Stomp so hard.
  7. The new Rochester comp is particularly good, even straight 'out of the box' but it can take a bit of work to dial in to your preference. A few other people have commented that compressors have been one of the weaker effect in the Helix, some being nothing more than gain stages. That said, I quite like the Deluxe Comp too - tweak the threshold to suit and it's pretty much good to go. I haven't tried it, and I don't have a real amp any more, but I wonder if you used the 4 cable method if you could use your Ashdown's preamp as a switchable block. Then you could have the best of both - Ashdown and SVT at the press of a button. (FWIW, I love the SVT model. It's pretty much perfect even with all the eq set to neutral.) I don't use cab blocks at all. Remember, cab blocks and IR;s are the sound of a mic'd up speaker in another room. They are nt representative of a cab sitting a few feet away from you. Unless you regularly mic up a traditional bass cab when you gig I'd urge you to try a simple eq block instead. Most recorded and live bass tones are a simple DI from an amp head, straight to the desk, an eq block simulates this rather well. A cut around 5khz on top and around 50hz on the bottom brings it into typical bass cab range and still sounds lively and almost like a real bass cab behind you (if you're going into an FRFR). Not to mention it would make a sound engineer quite happy with that signal going into their desk. When bass cab's are mic'd up, they are generally mixed with a DI signal too, so if this is your preference, you may want to dive into the cab block and adjust the wet/dry balance, or create a separate path for the cab. If you're going into a real bass amp and cab, then the choices get even more complex. I'd advise bypassing the cab block to your onstage amp and any of the above going to FOH, if you're using it.
  8. That’s kind of what I was trying to get at. I think the nature of stringed instruments makes the player more aware of the limitations of the western music system more than fixed pitch instruments such as woodwind and piano.
  9. As others have said, it's more to do with exposure than being hardwired. I feel it's the same when it comes to having perfect pitch. As string instrument players we probably all recognise that western music uses an imperfect scale that's had its mathematics mangled in order fit into an octave, which therefore isn't quite as natural as it may appear. So I find it difficult to understand when someone says they are 'born' with perfect pitch and the ability to recognise imperfect notes. I fully understand that some people have a brain that's wired to make this process easier for them, just as some people recognise logic patterns easier than other people, but they still have to be 'conditioned' to the western music scale. I wonder if people who claim to be born with perfect pitch find it easy recognising pitches in other musical cultures?
  10. I'm constantly amazed at the number of comment on various facebook groups by people who messed up the upgrade, each and eveytime Line 6 release an update, because they didn't read the instructions properly. I must seem like a right geek as I download pdf manuals to read up on before I buy certain devices.
  11. To be fait, he does play with gloves on
  12. Just thinking, the other alternative could be upright bass, maybe an EUB. Completely different ergonomics that may not aggravate your injury so much.
  13. There's also the new Vox Starstream basses, if you don't mind the look. Certainly leagues away from Hofner designs. 30.32" scale and 3.00kg (lighter than a strat, apparently). You might also want to look into a different strap system to take the weight of your shoulder. Or even eschew the strap and sit on a stool - certainly looks cooler than those braces style straps. I agree with the above sentiments though, deal with the cause, not work around the symptoms and try some physiotherapy. FWIW, I find that weight isn't necessarily the issue, sometimes it's just bad ergonomic design. I gave up playing my old Warwick Thumb bass because it would leave me in pain for a couple of days after a gig. Used to be fine, but my body started changing when I reached 30. The body was so small paired with a massive neck that the nut seemed to be a mile away, not to mention being neck heavy. It really took its toll. I now play basses that balance properly, not necessarily lighter and the difference is remarkable. My latest acquisition, a Squier 50s P bass is fantastic in this regard. Quite light but it balances perfectly. It seems that Leo Fender got it right first time all those years ago.
  14. I remember TC coming under fire a number of years ago for "lying" to customers about their power rating and handling. TC bass amp owners who were perfectly happy with their tone, volume and headroom were suddenly outraged that they had paid for a 450w amp that was only 225w. And many more who vowed to boycott them. Trouble is, too many people get caught up in specs and numbers and forget to use those fleshy extremities on the side of the head.
  15. On the subject of synths, has anyone had much luck with the 3 Osc Synth effect found in the Stereo Pitch/synth section? It seems to be the closest thing to a proper synth “engine”. TBH I’m not great at dialling in synths, so I’m tweaking knobs more randomly than with real intent. I wish line 6 would introduce effect level presets for this type of effect
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