Greg Edwards69

It depends on the quality of the amp’s built in compressor, and it’s settings IMHO. Most built in compressors are single of the single knob variety with a preset ratio (often quite conservative), attack and release. If you want more control or a different flavour you will be better served by an external pedal. The only way to find out is to try it.

I've never tried it myself, but I hear you can remove (or reduce) dents in wood with a wet cloth and a soldering iron and steam it out.

I wonder if an aria plate would fit without too much trouble? still, as you say, there’s plenty of places now that will make a custom plate these days.

And ironically, the original aria headstock is very similar to HB’s usual design. Perhaps they changed it to avoid a potential lawsuit.

I like having the choice. I've yet to find a definitive 'do it all' bass (although I had a play with a cort gb74 gig bass that is tempting), so I choose the bass I feel best fits the type of gig we're playing. Heavy rock at a biker bar - Yamaha Attitude. Function/party set - G&L JB2. Either way, I'll take the Squier 50s P as a backup. Unless it's a little, short set somewhere, I always take a spare bass, even if it lives in a gig bag. I've had a bass fail once and only once at a gig (dodgy jack socket) and was so glad I had a backup. Likewise, I had an amp head fail during a 20min set at a showcase event. Markbass head in padded case fell out of the boot when we opened the boot door. Seemed fine at first but must have had a microfracture that caused it to go into protect mode after 10mins. Got it fixed and bought a new amp and started taking both so I had a backup. These days, me and the two guitarists each use a helix and an frfr speaker as backline monitoring (with multiple inputs).. One of them also brings an HX Stomp as a backup with patches loaded for each of us, so if one helix dies, we are covered. Similarly, if an frfr speaker dies the others have spare inputs. Regardless, we all go direct to FOH as well. Heck, in a dire emergency, I could probably use my Nux Mighty Plug, or my G10s wireless (receiver has XLR output) straight into the desk. Our drummer's kit is in immaculate condition and he takes great care of it (he does actually bring a spare snare drum sometimes). He also has a roland trigger module device with two pads and bass drum trigger. So even if he had a catastrophic bass drum/bass pedal or snare failure he's be able to work around with with the trigger. Our old drummer came back after a break as a co-lead singer. So we even have a backup singer if one can't do it!

Admittedly I didn't even know about the Aria bass. I wouldn't mind betting they are all likely made in the same factory, with the same tools, machine and people. But I do find it amusing that the original aria headstock design is very similar to the usual HB headstock design on their other basses, unlike the 2+2 HB have employed on this new range.

Aha, I missed that. That'll teach me for not using the search feature!

And in contrast to one of my previous threads, I'm pleased to see 4 and 5 string versions are available in the same four finishes.

Just seen these come up in my Feedly newsfeed. I'm quite liking the look of these. Decent price too A modern design but still classic looking. Not sure how comfortable they will be to play whilst seated however. https://www.notreble.com/buzz/2022/04/19/harley-benton-launches-jj-basses/

IME the biggest technique factor in bringing out the mwah, (or restricting it in this case) is how you press the strings down on the finger board. Using the pad of the fingers brings out the mwah more than finger tips.

I accidentally trod on and pulled out my lead at rehearsal last week. We’ve been learning a raft of new songs so we’ve been concentrating on our own parts more than listening exclusively to everyone else. One of my band mates said it wasn’t until I accidentally unplugged my bass and plugged it back in that he really started to pay attention to what I was playing and how well it slotted into the mix.

Gaffa tape is like the Force. It has a light side and a dark side and binds the universe together.

Sounds like your keyboardist need an hpf. On of my guitarists doubles on keys. Both his keyboard and helix for his guitar go into his Yamaha DXR10 frfr speaker on stage and then a mix out to FOH. Cruicially, he engages the hpf on the DXR10 and it's low cut again on the FOH mixer. I have no problems being hear down the low end.

the only thing I've seen that comes even close to this is the guitar to short-scale bass conversion necks by Retovibe. But these are for converting strats and teles etc to shortscale basses, not for long scale to short scale bass.

Awesome. I completely forgot about that feature. It does use up an effect block though. I kind of wish I had kept one of mine now (I had two of them). It would make a great backup if my helix ever failed.

IIRC I don't believe the MS60b is capable of doing what you want. You can either use it in stompbox mode, where you can only switch the displayed effect on/off, or in preset mode, where the footswitch will scroll up through a specified list of presets. The only way I can think of to do what you want it to have duplicate presets with the same effects, one with the specific effect engaged and one without them engaged and switch between them in preset mode. I used to do a similar thing when I had mine and cycle through them. Having duplicates of my main, clean patch between each effected patch work like an on/off. For example A - main patch B - duplicate main patch + chorus C - duplicate main patch D - duplicate main patch + drive Otherwise, an upgrade my be in order. I believer the B3n and new B6 have the same effect and are more geared up for switching mutiple effect on and off within a patch. Or if you want to get your hands dirty, I believe some enterprising users manage to work out a way to use and external usb midi swticher to give more control over the MS60b.

Just to experiment, I dialled the Stadium Stack settings into the SVT4 Pro model on my Helix. Whilst I usually go for a more neutral eq on amps, paired with a judicious low cut* this sounded fantastic through headphones so far - a lot cleaner than the Origin pedal, but still had that big ballsy, plummy girth you expect from an ampeg amp with a little top end sizzle. I was expecting it to be way too bassy and scooped for my taste but it sat in a mix very nicely whilst I jammed along to some familiar tunes. I need to test it at gig volume at this weekends rehearsal, but I think with a little tweak here and there, particularly the mid range, this may well become my new default patch. *I've been an advocate of hpf for bass guitar for some time to clean up extraneous low end flub. But this is making me rethink my approach. A judicious low cut with a shelf boost at the same frequency appears to get the low end punch I've been looking for without getting mucky.

Being a bassist who is now 60 years old, Martin Kemp could have stood in.

I just kept thinking of Vic Reeves singing "in the club style" on Shooting Stars. That said, I think they all did a great job and it would have been less entertaining and risky if they were all stellar musicians. I take my hat of to them all. I hope I still have that energy and passion for playing and performing when I'm in my seventies.

It’s not just at the cheap end of the market that this trend is happening though. american ultra series 4 string jazz. 4 colours and maple board https://www.fender.com/en-GB/electric-basses/jazz-bass/american-ultra-jazz-bass/0199022790.html american ultra series 5 string jazz. 3 colours (only 2 of which are the same as the 4 string) and rosewood board. https://www.fender.com/en-GB/electric-basses/jazz-bass/american-ultra-jazz-bass-v/0199030712.html

It's not just me then! In the case of the Charvel's I mentioned, I'd much rather have a 4 string in the deep red or racing green the 5 string JJ comes in rather than the lurid lime green or blue. I have to say, I also prefer maple fretboards these days, which limits one's choice even further. When I bought my G&L Tribute JB-2, they offered 4 finished, but only 2 with maple and the other 2 with rosewood - luckily I like the sunburst option. It would be great if manufacturers offered an online or in store configurator of stock parts to make your own, even on the cheaper lines. I'm sure many people would pay a small premium for the facility.

That book sounds good. Jeff is certainly a very vocal advocate of bass education (that gets him into deep water sometimes). My sight reading used to be very good, with treble clef, which I used to play the clarinet and keyboards. These days, not so much. I bought an electric piano last year with the intent of improving my sight reading and keyboard skills again. I think my reading was worse than my playing as I haven't done so for around 25 years since I started playing bass guitar as my primary instrument. I did get a couple of cello books a number of years ago with the intent of improving bass clef reading, but they quickly ended up on a shelf. I really ought to get back into it properly.

The owners manuals are now available, for this who are interested in such things, like I am. https://www.boss.info/global/products/katana-210_bass/support/

I'm not sure if this is a new thing or whether I've simply not noticed it before. But lately, I've noticed there's a trend for offering different finishes depending on the number of strings. For example, on Squier's new contemporary range, the 4 string jazz comes in either Sky Burst Metallic and Shoreline Gold, whilst the 5 string comes in Gunmetal Metallic. https://www.ultimate-guitar.com/news/general_music_news/squier_expands_contemporary_series_with_two_new_guitars_and_four_new_bass_models.html I saw a similar thing recently when Charvel, released the San Dimas basses. They go a step further and change the finish depending on the pickups too. PJIV black, white, lime green or blue. PJV black or white JJV red or dark green. https://www.charvel.com/gear/shape/san-dimas-bass Like I say, it may be something I've never noticed, and there's likely a financial reason for it. But I'm sure it could be source of frustration where finish options are limited to the number of strings, and vice versa.

I refer thee to the Rt Hon Alex Claber - it would appear that it's the power supply that make the most difference.