Greg Edwards69

I'm not sure I agree there. At 30.05 kg, that's the difference between a one hand carry and a two hand carry for me. I can manage a single trip (over relatively short distances) with my 16.3 kg Headrush FRFR 112 in one hand, helix in the other and bass on my back. That 30kg is more than some of us would want to lug around, regardless of the the number of hands or number of trips.

Another vote for the Hercules hanging stand - I've used mine for years with a variety of basses both light and heavy with no problems. And a lot more stable that a traditional folding stand. Also, tell your guitarists to get something like a sansamp just in case his amp implodes again.

FWIW, I had a Tokai T-bird some years ago. I'd fancied a T-bird shaped bass for ages and I managed to snag this on in a liquidation sale. IIRC it had a set neck and more modern bridge style (not the traditional 3 point gibson style that falls off if you remove all of the strings). I added a strap pin that cured any neck dive and it sounded pretty darn good. Only problem I had with it was me. At 5'7" I felt daft playing it - it wore me than I wore it. Huge unweildly beast of a bass with a headstock situated roughly half mile from where I was standing. I just couldn't bond with it, and I really wanted to.

Not sure if this helps, but I seem to recall Bill Fitzmaurice mentioning that speakers need to be at least 2 and a half feet off the floor to isolate them from the boundary effect.

Love Shack. Usually raises eyebrows or a smile. edit: only notice my nonsensical typo a couple of days after posting!

I had and Ibanez one for a while that rarely left the house as it was so unwieldy. It even had wheels built it to make it easier to cart around, but I just found it easier to use separate gig bags for each bass.

Good to know, but I only really want one for practice at home, and in dire circumstances live, if my Helix malfunctions.

Exactly right, and exactly the response I was hoping for. Thank you.

I have no idea. I keep all of them together so I don’t know which ones have been used and which ones haven’t. But I have noticed that some remain flat even after a long gig

Quick question. How is the Bluetooth connection, or more to the point, does it sync properly with video/graphics? This is a source of frustration with my Nux Mighty Plug, as I frequently play along with YouTube content and the Ultimate Guitar app and it drives my nuts when it’s out of sync by about half a second.

I think you’re right about he warping. I only switched to using the 0.60mm Flex fairly recently. Most of them have a subtle curve to them now.

Did you try them amplified at gig volume, with a band? Just like eq settings, I found this to be an important part of my pick choice. I brought a several picks that I thought would work to a band rehearsal before settling on my current choice.

Is that the short/medium scale version of the sms1005? If so, it sounds great and could be just what I’m looking for.

Redonizm were back on The Rock a.k.a. Canvey Island on Saturday night. This time at a new venue for us, a Starr Sports, a sports/pool bar on the seafront. Keen readers may recall our last visit to Canvey ended in a 20 person brawl as we finished our last song. Well this visit was complicated by a murder of a patron of that same venue the night before, and the town centre was cordoned off all day (I believe the cordon is still in place now. I was concerned that we might be playing to an empty bar considering the circumstances, but was quite relieved to see a busy venue, full of people. The gig went well. Plenty of people enjoyed themselves, singing and dancing for most of the evening. I people dance then I’m a happy man. Only issue was a room resonance centred around low G (about 100hz). I was able to notch it out for my personal frfr speaker via my helix (seriously, the global eq in this device is worth the admission price) but there was still the odd boom and rumble from other instruments less able to notch it out, but I don’t think it impacted the audiences enjoyment one iota. Added a couple of tunes since last gig, “Torn” and “Baggy Trousers”. The latter was a particular highlight with our male vocalist playing the sax lines on a kazoo!

My picks have been getting thinner and thinner over the years. I used to use thick stubbies years ago, then thick 1 or 2mm gator grips, then I went down to 0.71mm gator grips when I realised I wanted to accentuate that crisp "snap" that only thinner pick gives, but I was still finding it was considerably louder than my finger style playing, and the gator grip material wore out very quickly. I bought a couple of mixed packs last year and after auditioning several at home and at band rehearsal I've settled on Dunlop Flex 0.60mm. They have the durability of tortex and the warmth and flexibilty of nylon. I found the 0.60mm gauge to be the right balance between volume, crisp and snappy attack, and not losing too much low end.

IIRC, flats are generally higher tension than equivalent gauge rounds, and it's usually common to go down a gauge when switching to flats. Although of course, it depends on the brand of string. If you're going up a couple of gauges to flats, that would be similar to 60-110 rounds. So yes, I would expect a change to the relief!

That extends to basses and guitars too. The only difference in my basses that is clear to my wife is the colour. Actually, when we first met, she thought the neck was called the "handle". I frequently have to remind myself that the audience couldn't care less when I start agonising over details.

I have the headrush 112 speaker as well as my only "rig" along with my Helix. If I were you I would try using what you have as backline before spending a significant amount of money on a second rig. It might surprise you how competent it is. FWIW. I previously had a markbass LM2 head and 1x12 traveller cab as my only backline gig rig, even in situations with just vocals through the PA. The headrush performs just as well as that. Pretty much comparable to any high powered off the shelf 1x12 combo IMHO. Of course, if you're just looking for an excuse to buy new gear. Then go for it. You don't need our collective blessing to justify it. But I will say the audience likely won't know the difference.

That was my thought, and it appears the actual intention. I just thought the illustration was hilarious. Must have been contracted out to the lowest bidder.

Yeah, that’ll work great!

I stand corrected, good sir. Besides it can't hear me. I sold it a few years ago.

Indeed, at a showcase event, such as the OP mentioned, my LMII head met with an accident when we were loading in (long story, fell out of boot during load in, thought it was okay but went into protect mode 15mins into a 30min set). I bought a Carvin BX700 to use in the interim whilst the LMII was being repaired. After that incident I realised how delicate these tiny class D amps are and I ended up making the LMII my backup.

I went through a similar quandary a number of years ago, between the CMD121H combo and traveller 121H cab with LMII head. Ultimately, I went with the head and cab. The cab had slightly deeper frequency extension than the combo, and I just felt the mini stack would be more versatile. On several occasions, and at rehearsals I was able to leave my cab at home and use my head with someone else's cab, meaning I didn't have to carry as much. Although compact, and lightweight when it came out, it was still a bit of a lump to carry in certain situations (like up and down dark fire escapes, or through endless corridors in large hotels). But I completely get the attraction of a single, simple to move, and quick to set up combo. As such, if I was in that place right now and looking at Markbass again, I would be considering one the new MB58R combos instead. They're so much lighter, that moving it around for any gig and rehearsal is a non-issue The mini stack doesn't offer the advantage it once did.

I wonder if a reverse P pickup layout would work better in this instance.

Allegedly, Flea used a Mutron III on the recording (apparently, with a dying battery). The helix includes a few mutron models (including the legacy effect options), but I've not had much like dialling them in. I prefer to use the Autofilter effect. Once I got my head round the parameters, it was easier to dial in. This talkbass post really helped https://www.talkbass.com/threads/line-6-hx-effects.1324948/page-108#post-21880052