Greg Edwards69

I've done the same. My bass cab lived with our drummer for a while as I didn't have space in the tiny room I was living in at the time. We had a private party gig a good hour or so from home. When he turned up in his van and we started to unload, his and my heart sank when I quizzed him where the bass cab was. He was about to jump in the van again and do a couple of hours round trip to get it. Luckily, the person we was playing for is a good friend and also a bass player. He very kindly nipped a home a few minutes down the road to grab his bass cabs. Very lucky escape that night. If worse came to worse that night, I would have gone direct, but it might have been a little lacking with no sub or bass cab on the floor. However, in hindsight, after ready this thread (at least I think it was this thread), we could have simply put one of the FOH speakers on the floor and one on a pole to make up for the low end loss.

This, along with being able to assign global eq and volume knob to only affect 1/4” output and not the theoretical xlr output. Exactly the same as I do on my bigger LT. I could then be tempted to downsize.

What’s the issue with the pitch shift effect? This is one of the main reasons I’m thinking about getting one of these. Does is track down to open E okay? does it warble? If it can simulate BEAD tuning for practice purposes I’d be happy. I use a helix LT as my live rig and I have a Nux mighty plug for silent practice (I also have a Blackstar Core ID Beam practice amp with limited effects and a couple of bass amp models). The little nux is great, but limited due to its processing power. I’ve had my eye on the Mooer P1 for a couple of months as it’s the first tiny practice device I’ve seen that has all the features I want/need to more or less replicate my helix such as crossover split, hpf/lpf and pitch shifting to emulate different tunings. It really does seem like a pocket helix! It could also serve as a backup in case the helix fails, and a usb interface for the computer. Indeed, I’ve recently sold a valeton dapper bass and iRig HD2 that I had for these purposes but wasn’t getting used (and for temporary financial wossnames that I won’t go into - anyway, one of my guitarists brings an hx stomp to each gig loaded with patches for all of us and the computer interface isn’t important at this time). But, a single device that could replace three devices is very tempting.

This was my experience with my old LMII head. It was quite dark sounding with the eq set neutral and filters bypassed. As such. adjusting the tweeter L-pad on my old compression driver tweeter equipped Markbass traveller 121H didn't seem to do much, if anything at all.

I had one of those nova dynamics pedals too. it was great for processing the two outputs of my Attitude bass. The multiband algorithm was stellar, but I just couldn’t get on with the stomp algorithm. Much like the ovnilab review, there was a distinct artefact when the signal crossed the threshold that I just couldn’t live with. Such a shame.

Looks like GR Bass has some competition. I understand the GR Bass combos work quite well as an FRFR solution for bassists (indeed, I was told they are working on a proper FRFR solution as well). The new Markbass Mini CMD 121 Pure seems similarly specced to a GR Bass AT Cube, so I wonder how well it would perform in an FRFR capacity. FWIW, I had a markbass LMII and Traveller 121H. The cab was great, although to seemed to get heavier the longer I had it!, but I never gelled with the head. I just couldn't get on with the eq section. But now I use a helix as my tone shaper, this could be a non issue if it sounds great plugged into the fx return.

When gigs like that happen with nobody, or nearly nobody there or paying attention, we treat it as a paid rehearsal.

I'm with you on the Bite guitars. They offer two different headstock, a 2+2 design and a 4 in line fender derived design, both with the trademark bite mark. The 2+2 seems to be the default and it just looks weird to me on a fender shaped bass. Just as the PRS silver sky looks jarring with that 3+3 headstock. As an aside. I remember have a debate on a FB group regarding headstock mass, answering someone else's question about neck dive. I suggested installing hipshot ultralites to remove weight from the headstock. He was adamant that it was the wrong approach and adding a hi-mass bridge was better, as removing mass from the headstock will negatively affect tone. He didn't believe me when I told him I've done it to a few basses and not noticed any change to tone. When challenged, he was unable to explain how headless basses sound great, if headstock mass is so important - his reply was "why don't you buy one and find out".

Since 1984 IIRC. He came out on stage a handful of times at the Wembley '86 concert. I particularly remember him playing 2nd guitar on Hammer To Fall.

Not to mention house PA systems. Just reading the Quora reply. It appear that in the 60s many bands relied on what was in the theatre for FOH, or the whole band plugged into an AC30. It appears that t wasn't until the mid 70s that dedicated subwoofers started to become commonplace. If John grew up listening to 60s bands, their bass playing influence will surely have rubbed off. I notice that his bass lines got deeper and funkier as technology progressed. https://www.quora.com/Music-How-did-concert-PA-systems-from-the-60s-and-70s-compare-to-those-today And regarding the vinyl recording, it wasn't just the cutting of the vinyl that bass could cause issues. You have to bear in mind average home playback systems of the day. Again, what 70s bands grew up listening to would have shaped their early careers.

John Deacon, along with Jack Bruce is the reason I started playing bass 30 odd years ago after childhood years of playing clarinet and keyboards. Inventive playing with a keen sense of melody and harmony, and always serves the song without getting in the way. My band had to learn "You're my best friend" for a wedding some years ago. Sounds like a simple little pop song, but that bassline, wow.

I seem to recall something about vinyl records not being able to handle low bass that well so bass players of the vinyl era tended to play higher up the neck to cut a better behaving track.

Not too bad last night. Trouble is, due to the venue (social club in a village) hosting jubilee events for the previous couple of days, it wasn’t as busy as we hoped it would be. Maybe 2 days of celebratory drinking had taken its toll on the locals. Still, we put on our usual show and thankfully, the number of dancers was greater than the number of band members. A couple of technical issues at the start due to lighting interference and the head barman didn’t know how the lighting worked, but all good in the end.

I’ve found the same thing playing for biker clubs and hells angels. Any trouble is swiftly dealt with. And they’re a helpful down to earth bunch, even helping us load it and out.

I read an article a few weeks ago by a compère/comedian. She said since opening up the country after covid lockdowns, a few people appear to have forgotten how to behave in public. I fear she may be correct. https://www.theguardian.com/commentisfree/2022/apr/21/its-no-joke-since-lockdown-live-audiences-have-forgotten-how-to-behave

I remember turning up to one pub that we used to regularly play at to me met by the obligatory big screen showing football/rugby right where we needed to set up. Landlady said we had to wait until the match had finished (which wasn't long). Then when we started setting up she told us there was another game coming on and we wouldn't be able to start playing for another could of hours and play a much shorter set! We reminded her we had a contract with a start time and she still needed to pay us in full regardless of when we start. My wife also phone the pub from home and told them she had a load of friends coming to see the band and wasn't happy that they had sport on. Landlady come over and said we can start as contracted and will turn the screen off. Another pub refused to turn the boxing match off, on a screen right beside of the guitarist. Finished one song with an epic guitar solo and a huge cheer. He was so pleased with himself until he realised they were cheering the boxing match. Honestly, I really don't know why pubs have to show sport when they've booked a band (actually, I do know why, but it annoys me nonetheless). And they expect a 6 piece band with drums and PA system to be setup and ready to go at the snap of a finger.

Not last night, but day before. Barking Bikefest, in support of the Tour Series 2022 cycling event. One of our singers blagged us the last (aka headline) entertainment spot of the day before the main event via his contacts with Amazon Key who are the main sponsor. Really nice small scale festival setup in the middle of a beautiful park. Played on a temporary bandstand with various street food eateries and other stalls around us whilst community cycle races went on around the park. We were down to a 4 peice from our usual 6. One of the guitarists is on holiday and our female singer came down with tonsillitis during the week. Luckily, our other signer handled it with aplomb. Provided backline was excellent (Ampeg PF500 plus Ampeg 2x10, Fender Twin and Roland Jazz Chorus) but unnecessary as me and the guitarist went direct via our Helixes (whatever the plural of Helix is). Quickest set up and break down we've ever done. Set went down well, especially "Park Life". When else do you get the opportunity to play that song in the middle of an East London Park on a beautiful sunny day?! No pay, but free food and use of a secure green room. Bonus points as we were invited to the Hospitality area with free booze, food and goody bags to watch the main event after. Really good fun. The American Amazon contingent who flew over for the even really liked us. We jokingly said... " if you need a band for your Christmas party at HQ in America...". I'm not sure if they were serious when they said, heck yeah, we'd love you over there for that.

Allegedly, Zelensky wants to hold it in Mariupol next year. That would be a humbling spectacle if they could pull it off.

According to wikipedia, ITV, STV and S4C are also members under the UKIB umbrella. https://en.wikipedia.org/wiki/European_Broadcasting_Union#Members

Nice job Huw. Love that synth sound and the playing. I wonder how close I could get with the Helix now it has more synth options.

FWIW. It’s worth keeping an eye out on thomann’s b-stock bass page for bargains. There’s a sunburst JP-45OP on there right now for £167. Not a huge saving, but still, it’ll help pay the energy bills!

That would be an issue for me too. I don't use a real amp, just an frfr speaker. At the moment, I send XLR from my helix to FOH and 1/4" from the helix to my frfr speaker. I'm guessing Origin Effect expect people to use this in conjunction with a real bass amp and cab on stage. Without a cab sim on the 1/4" going to an frfr it would sound rather fizzy. I suppose you could send XLR to an frfr and then another XLR from frfr to FOH as a workaround, But I love having discrete control over each. FWIW, I don't use cab blocks in the helix, I prefer a simple eq to top and tail the signal with high and low cuts. But the same logic applies here.

Absolutely. If I hadn't of gone down the Helix route, I may well have gotten the B|Amp instead. It really does appear to be the quintessential bassist's bass amp.

If you're playing a lot of melodic parts, you may want to investigate multi-band compression. It's more transparent than single band and high note don't get "swallowed" by the low end. The TC Spectracomp is highly regarded for multiband and single band compression. (To be honest, if I was in the market for a comp pedal, this is what I would buy).

My only concern is ergonomics, having never played a single cut bass design. I like my top horn strap button to reach around the 12th fret which not only improved balance, but brings the nut a bit closer (my old Warwick Thumb was terrible in this respect). But I notice the gretsch button falls somewhat short of that around the 15th fret, so I wonder if the gains from the shorter scale (shorter reach to the nut) are somewhat lost from the strap button positioning.