Greg Edwards69

We had a good night at the Cow & Telescope in Southend on Friday evening. It was a bit of a rush getting home from work, scoffing a quick dinner and out again, but we had more time than we realised to set up at a relaxed pace and soundcheck. As usual in this venue, it seemed a bit too quiet on there when we setting up, but by the time we kick off at 9.30 we had a decent crowd of regulars and a steady stream of arrivals whilst we played. I made a couple of mistakes - including completely blanking halfway through the "Time is running out" riff. I put it down to not feeling 100% due to an iffy stomach I've had for a few days. I managed to blag my way through it and remembered it by the second or third time round. I noticed a couple of guys pointing and watching me intently during "Runaway Baby". I'm unsure if they were impressed or spotted errors in my playing! 😄. Another patron came up to me when we had finished and said it was so refreshing to see a band actually move around and put on a show, rather than just standing stock still and looking at our guitars and feet. A couple of our usual mob (including my wife and brother, who are not afraid to offer constructive criticism) said the set list was great too, with a few songs we hadn't played in years thrown in. We try to avoid too much repetition - for ourselves as much as anything! But it all seemed to flow nicely and kept people up dancing until the obligatory encores were finished with. So yes, all in all a good night. The next one is The Cricketers in nearby Westcliff on Easter Sunday. Out first time at this venue, and one we've wanted to get into for a while. We'll be a couple of members down (one of the guitarists, and using a dep drummer), but I'm sure it'll be fine.

I think I'm just generally unfit. It doesn't help having a desk job (although I do use a standing desk when I feel like it). I tend to wear a back support belt when loading in/out and setting up/breaking down, which does help. I noticed when we were busier on the run up to Christmas, I felt much better physically by the last one - my body had obviously gotten used to it. It's always tougher when we haven't gigged for a little while.

None of out gear is particularly heavy. The heaviest items are the Yamaha DXR12 tops, which are around 20kg, and the drummer's hardware 'coffin' that weighs the same as a small planet - but at least it has wheels. It's more the bending over, unpacking, and running/coiling cables that does me in. Despite pushing numerous times, a couple of the others really need to lend a hand more and know how to set up their own equipment and plug in their own cables!

Helping to load in/out, set up and breakdown both PA and drumkit doesn't help.

Redonizm were back at the Sarah Moore in Leigh-on-Sea on Saturday night. We really didn't think we'd be back here again as it was supposed to close permanently in the new year for redevelopment, but the building owner had a change of heart and let the landlord lease it for one year, with a view to a 10-year lease. A benefit of this is they are now independent and have associated themselves with local brewers and suppliers, so they have some lovely beer on tap! This was our first gig of the year after a busy Christmas period, so whilst it felt great to be out gigging again, certain muscles were out of shape, both physically and mentally! It took me a few songs to get my head into gear and stop making silly mistakes, but I was fine once I got into it. And boy did I ache the next day! A bigger turnout would have been great - quite a few of our usual followers were unable to come - but those who came and stayed, and seemed to enjoy themselves, and we had a decent crowd dancing in the latter half. Next stop, Cow & Telescope on Friday. One of our favourite music venues in Southend

Thanks Stub. I have a couple of my dad's watches and his old Pal 35mm camera, which is all I wanted of his. My parents live in Spain, and we're planning to move back to the UK this year - that plan is still on. But my dad was quite the hoarder, so it's left my mum with the unenviable task of decluttering their substantial-sized villa. My brother and I are going over for a week in April to help the best we can, so I'm sure there'll be plenty of bittersweet moments as we find things.

Thanks, but already tried that - it's even worse!

Thank you. We weren't prepared for it at all. Without going into details, it was a short illness that we believed could have been treated, or at least give him several more months. Hurts like hell knowing I'll never see him again. Here's a photo of mine. Clearly offset by a good inch. It doesn't impede carry it, but it does set off my mild OCD. I might drop Bassdirect and/or GR Bass a line. FWIW, bass direct doesn't specify whether there's one made specifically for the active cab, I just chose the one listed for the passive cab, that I assumed was the same specs.

Thank you so much. I miss him immensely already even though I still don't quite believe it. Love to you and yours.

I forgot to add I ordered the "official" cover to go with it. It seems to be padded enough for my liking, certainly moreso than the Alto cover I got for the headrush. The only thing is the handle opening doesn't quite line up with the handle - it's a good inch out of line front to back (I can try and add a photo later). I wonder if this is because the cover is designed for the passive version of the cab that possibly has the handle mounted in a different position to balance properly.

Being fed up with carting my Headrush 112 around, I treated myself to a new lightweight cab a couple of weeks ago as a birthday present to myself. After a couple of weeks of hell (I went away for my birthday the day after getting it, which was fine, but then lost my dad a couple of days later), I finally got the chance to test it out at a band rehearsal yesterday. Suffice it to say I'm very happy with it. My bandmates were astonished at the weight (or lack thereof) of this cab. I was slightly apprehensive about whether I made the right choice going for the cheaper 350w version, but I needn't have worried. I had calculated that it should be enough for my needs and was relieved when it blasted out a room-filling tone without even pushing it. I had pre-centered the bass and treble trim pots and was pleased to hear a smooth, full-range tone come out of this, with real depth but without the boominess that the headrush sometimes produced. Indeed, I was able to bypass the global EQ in my helix that I had dialled in for the headrush, and it sounded great. Is it actually FRFR? I can't say, but it certainly reproduces the tones I had dialled in with accuracy and sounds like the tone that comes out of the PA. I don't actually gig with backline in my band anymore, but the headrush is just too heavy a lump for lugging to band rehearsals. I had considered getting a smaller powered PA speaker such as a Yamaha DXR10, but I still wanted something that could handle a gig if I needed it to. I think this fits the bill just fine and will hopefully be the last speaker I'll ever need.

I'll be blunt, my opinion of Jon Willis has plummeted over the years. I've known of him for a number of years since the Facebook Yamaha attitude owners group before the helix came along. He's somewhat crowned himself as the helix bass guru without credentials and most of his presets are variations of the same thing, mid-rangey, Sheehan-esque p bass type stuff. All dialled in with an RTA and headphones. Fine for Sheehan style rock stuff, but not a lot else. I tried his synth pack and didn't find it useful at all tbh. I've been using the helix for at least 6 years and like you, I'm loathed to pay money for presets. I've dialled in my own and was generally happy, although synths are my Achilles heel. But over the last year I've been enamoured with Ian Alison's tones so I bit the bullet and bought his vintage synth pack. Oh my! These are the real deal - they sound extraordinary. Genuinely useful, especially the mini moon preset. I enjoyed it so much I bought his signature pack too to see if I could learn anything and he improve my own. Needless to say a modified version of his signature amp preset forms the basis of my core tones. Organic, gritty, gooey goodness and very versatile. A while ago Jon and Ian had a rather public spat of social media where Jon "bought Ian's presets to review so you don't have to" and heavily criticised them for having round numbers in the settings. As if that's proof they haven't been dialled in and finessed over hundreds of gigs. He accused Ian of being nothing more than a used care salesman and then proceeded to tweak Ian's presets by 0.1 in each block and give them away for free. the community did not approve. I lost all respect for him at that point. honestly, IMA's presets appear costly, but they are the real deal and sound great, and dead easy to tweak if you need to shape to your taste and requirements.

https://support.apple.com/en-us/108294 This overview explains it quite well. Aside from eq and compression it appears to do loudness normalisation for standard streaming platforms.

I'm in the process of doing that to some video footage of us playing at the international scout and guide jamboree last year. Our entire gig was filmed and recorded and they provided us with a huge mp4 file of the whole gig. They said we can use it however we see fit as long as you can't see the kids faces in the crowd. So we got a friend to splice and dice the video into several shorts and a couple of showreels/montages that look great. Only thing is, the sound is lacklustre and very low volume. I reckon it was recorded straight off the desk. The general mix is fine but sounds lifeless (not to mention a couple of tuning issues for one of our singers whose pitching can waver when he gets overexcited). The stem splitter is fantastic. I've been able to add a little more excitement to the drums, guitars and vocals with some compression, eq and reverb, adjust the mix and stick it though the mastering assistant. In addition, I can fix those errant vocal issues with flex pitch - which is proving to be fantastic. Hopefully, once I'm happy with one of them, I can reuse it as a template for the others.

Indeed, Wikipedia describes Wham! as an English pop duo. But yes, the etymology of "band" is open to all sorts of interpretation. Is a one-man band considered to be a band?

Richard Osman and Marina Hyde tackle this subject in their excellent podcast. Apparently, only three bands to have a single week at No.1 so far this decade - Radio 1 Live Lounge All Stars, The Beatles, and Little Mix! https://fb.watch/xK6ndcppeM/

I blame two things for the death of creative pop/rock music - bands or not. 1. Simon Cowell/Fuller and their ilk for the death of creative pop music. Yes, I know that manufactured pop has been around a lot longer - such as The Monkees - but everything changed when the audition process was combined with the burgeoning reality TV format, and the talent show format very soon after. I remember watching Top of the Pops not long before it ended and seemingly most of the artists were pop idol/pop stars/x-factor people singing covers. Indeed, my brother was in a pup circuit covers ban some years ago with some younger people - one of them seriously believed that they were going to make it big playing the same laminated set list of cover songs. And why not, when the TV and airwaves are saturated with people doing the same thing? 2. Streaming services (and the iPod to an extent). Rock bands used to craft albums. Some, like Led Zeppelin, for example, were "album bands" (their singles chart performance is atrocious). Growing up, I used to listen to whole albums on a regular basis, usually via my personal cassette player and later MiniDisc. The iPod came along with "1,000 songs. iI your pocket" with a shuffle mode - instantly breaking albums apart if you so wished. Then streaming happened - just ask alexa to play a genre and she'll comply - hours of shuffled music (I'm just as guilty of this myself). How do albums compete in this landscape - where's the incentive? Maybe they don't. A lot of bands don't make money on recording music anymore, so they tour and sell tickets and merch at exorbitant prices to break even. I remember Motely Crue saying some time ago they weren't going to make albums any more, just release the odd single.

PLease do share if you find out about getting them for the IE 400's. I notice they aren't listed as well, although admittedly, I'm quite happy with the comply foam tips.

It has USB, so might be possible to hack them for midi control, like the original Zoom Multistomps could.

There are, but there's not many cheap boxes that use Neural Amp Modelling. I did note however that it's output is unbalanced, so will likely need a DI to plug it into a mixer.

I very rarely tweak anything while I'm gigging. My presets are dialled in at home and tweaked at rehearsals at gig volume. Any eq issues are swiftly dealt with on the mixer. LIke you, I make a mental note if something isn't quite right and address it later.

Intriguing. Could be a useful thing to keep in a gigbag as an emergency backup.

I like that. They appear to have implemented well chosen mid frequencies.

You probably don't need the eq to boost the clean path. The merge block where the split paths rejoin has a mixer so you can balance the two signal paths. Also, try experimenting with different types of split. The crossover split (set to around 200hz) is quite useful for certain drive models to retain a clean low end.

I thought it was discontinued due to the amp module they used at the time was discontinued, not poor sales. https://www.talkbass.com/threads/official-barefaced-bass-cab-club.868480/post-22406117 Seeing as they now have a reliable amp module, hopefully, they will bring it back. Besides, I think there's more bassists using modelling these since it was discontinued - the HX stomp has become the a staple of many pedalboards.