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Greg Edwards69

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Everything posted by Greg Edwards69

  1. Greg Edwards69
    I'd likely take you up on that offer too. It would be good to meet a fellow bass nerd in the local area. I am quite intrigued to try one. As much as I love my current clutch of basses, there are times it get challenging, more so physically than technically. I had to part ways with my old Warwick Thumb for ergonomic reasons. A 2-3 hour gig would leave me in pain for days - as great a bass as it was, it wasn't worth the agony it left my back and shoulder in. Now that I like the sound of. Could be best of both worlds. Short to medium scale in one instrument. Ibanez make both short scale and fanfret designs - maybe they need a nudge to combine the two. I think you might be onto something. Fender designs are the most ubiquitous to the point of becoming standard. A bit like MS Word - I'm a graphic designer by trade and you wouldn't believe the number of times customers have asked for the finished design in word format! It's probably this ubiquitousness (is that a word?) that made long scale the industry standard.
  2. Greg Edwards69
    As the title really. I’m neither for or against short scale - indeed, my first bass was a no name beaten up short scale jazz-ish copy I bought of a mate for £35 so I’m not adverse to them. I know they've been around since the 60s, but I’m seeing more and more of them lately and even big brands not associated with short scale are getting in the act, such as Sire, musicman, Ibanez and even Jackson. Is it the royal blood or Justin mendelson effect, is it just a passing fad, should I join in?
  3. Greg Edwards69
    "Look But You Can't Touch" - Poison "Keep Your Hands To Yourself" - The Georgia Satellites "Don't Come around here no more" - Tom Petty and the Heartbreakers "Reach" - S Club 7 "Sweet Caroline" - Neil Diamond (Hands, not touching hands, not reaching out, not touching me, not touching you). "Everybody Hurts" or "It's the end of the world as we know it" - REM
  4. Greg Edwards69
    I think Davie504 might win this.
  5. Greg Edwards69
    I looked at the pdf manual earlier, but it's rather simplified and doesn't give the information I was after Good to know about the battery life. Yamaha's session cake webpage says that if you use the 4 pole cable supplied (TRRS) you can use an ios device to record and use effects apps to process the input signal. Have you tried this at all?
  6. Greg Edwards69
    These devices have just been brought to my attention, and I'm very intrigued! Could be very useful for a silent rehearsal. I have a couple of questions though. Does the SC-02 let you use XLR for vocals and the guitar input at the same time? I'd assume yes, and you simply balance the volume with the guitar volume? Battery life. How long does a good set of AA's last? How does the "iOS device an an effector" work via the aux in jack? Can you use amplitube or Bias to get an amp sound?
  7. Greg Edwards69
    I went to my local for a cheap dinner last night and got quite annoyed. Two of the main reasons in the guidelines for not having live music in pubs are social distancing and mitigating the risk of droplet spread caused by raised voices of people singing along. It appears however, that it's perfectly find for pubs to show big screen football matches and for viewers to huddle up, shout, cheer and jeer without intervention.
  8. Greg Edwards69
    Do it, do it, do it! 😎
  9. Greg Edwards69
    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.
  10. Greg Edwards69
    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.
  11. Greg Edwards69
    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)
  12. Greg Edwards69
    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!
  13. Greg Edwards69
    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!
  14. Greg Edwards69
    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.
  15. Greg Edwards69
    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.
  16. Greg Edwards69
    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.
  17. Greg Edwards69
    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
  18. Greg Edwards69
    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
  19. Greg Edwards69
    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.
  20. Greg Edwards69
    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/
  21. Greg Edwards69
    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.
  22. Greg Edwards69
    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)
  23. Greg Edwards69
    Whilst true regarding the high cut, I do tweak it for the odd patch. However, I prefer to use the global eq to adjust my stage speaker and bypass it to FOH. So having a high cut per patch just work better for me. (FWIW, I tried an equal loudness Global eq curve that a Helix guru friend of mine created at the weekend. Worked quite well and worth experimenting with http://drtonelab.com/lab/jon-willis-live-comp). Yes, the standard parametric eq in the Helix is usually enough, but I'd love to hear some classic console emulations that I used to use in PodFarm. So many classic bass and guitar tracks were recorded this way. JHS even created the Colorbox pedal to emulate 'that' sound. Maybe Helix may model this pedal one day.
  24. Greg Edwards69
    I had the pleasure of seeing Def Leppard at the O2 a couple of years ago. No amps on stage at all. All using Amp-FX straight to desk with IEM. The sound was incredible. Allegedly they dug out the Hysteria stems and created guitar patches based on those original recordings.
  25. Greg Edwards69
    It for this reason I don't bother with cab sims or IRs with my Helix. I get a much better tone running the amp model through a simple eq block to tame the fizzy high end and straight to my frfr and/or FOH. Pretty much what a sound engineer would do with a DI from a real amp head. Sure, there's bigger touring acts who'll have their bass cab mic'd up alongside a direct signal, but for the average weekend warrior, it's not worth the faff and is pretty fruitless endeavour. As for recording. I agree, most 'famous' bass tones are often straight into the console via some expensive rack equipment. This is one area the helix is lacking. They've included powerful eq options and a plethora of compressors but only one very basic 'Studio Pre' model. Even some of line 6's older softward such as PodFarm offered a handful of studio console models.
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