Greg Edwards69

This. We engage the low cut (hpf) on every mixer channel part from bass guitar and bass drum. It cleans up excessive low end picked up in vocal mics a treat. A good parametric eq pedal can help that “one loud note” issue that plagues bassists in certain size rooms. Find one with an hpf and it’s even more useful in challenging rooms. A note of caution, be careful notching out excited frequencies if your backline fills the room, what sounds awful on stage may be fine out front.

I think bass players tend to be the most knowledgeable when it comes to sound, as it's usually us that are affected the most from environmental acoustic anomalies and have to work harder to wrangle a decent tone out of our rig without it turning to mush or causing low end feedback etc. We're the only ones (apart from possibly keys) with a truly full range instrument.

Reading bass clef outside of the stave stuffs me. I played clarinet in my formative years so spent most of my sight reading time in the treble clef. Even when I played keyboard and tinkled on the piano the bass clef would completely confuse me. I've been playing bass a lot, lot longer but still haven't got my bass clef sightreading ability up to scratch.

I had a Tokai TB years ago. Looked great, sounded great and lovely neck. But boy was that thing big and unwieldly. If the OP is considering one, I'd recommend trying one in person before committing, and preferably on a strap. But I second the Squire 50s P recommendation. Lovely bass to play with a different flavour of 'P'. If the OP is a P guy that fancies a Jazz, I'd recommend giving the G&L JB2 (Tribute) a look as well. Chunky jazz neck, jazz electronics in a smaller P bass sized body.

He's a little over-enthusiastic to watch for me, but Ian Allison's synth run down video is super helpful for building synth sounds with stomps

Welcome to the forum. I find it's a nicer place to discuss all things bass and bass related than that other place where people 'talk bass'. Your expertise and connections will be very valuable here. Could you kindly get on to the powers that be and remind them that bassists love modelling as much as guitarists, and please produce a line 6/ampeg bass powercab frfr and a yamaha variax bass. Just kidding, but that would make me a very happy bassist.

Nicely done, although I can't afford to get a pair of them right now. However, I see Andertons are offering 9 months interest free. Even between the 6 of us as a band purchase (guitarist's dad sound man not included) it only works out at £25 each per month - even less if he wanted in on it. Obviously there's cheaper monthly payments for longer with interest. If someone decided to leave the band, the rest of us could simply buy their share at market used rate. FWIW I note the original Evox 8 is marked as "archived" on RCF's website. It appears the lighter, but plastic Evox J8 has superseeded it. Heck, they even make a protection cover with wheels and trolley handle!

Depending on the size of venue you're thinking, a good set of earplugs would sort that out. It certainly seems easier than IEMs. The idea of having a pair of these set at the back of the stage, replacing FOH speakers, guitar and bass frfr speakers and monitors/IEM sounds like a wonderful idea. It would solve so many issues. Heck we could use just one for guitars, keyboard and bass with a mini mixer at rehearsals, or vocals as well with a larger mixer. And I realise they're not lightweight, but it's less gear to transport. I seriously considering looking at a good finance option to split the cost between the band. It's certainly a viable alternative to getting a sub and IEM solution. Perhaps I'll have a chat with the guitarist whose dad own the PA. He's not a young man anymore and I don't know how much longer he'll want to do this for. Perhaps he might consider selling the Yamaha's if we got these.

I'd need a stair-climber trolley. Carrying too much gear up and down a fire escape at our first gig post lockdowns is what caused my back pain last year.

True, but it's the carrying to and from cars that doesn't agree with me. I need to wear a back-belt and tennis elbow strap for loading in/out these days. Add the knee support I've been wearing since my knee gave way a couple of weeks ago to the mix.... I'm falling apart.

It's about time GR Bass got in the PA system business.

This was years ago when I used a markbass head and cab. The only other solution at the time if my mate hadn't lent me his cabs would have been to go direct from my bass amp head. Yes, I use the headrush now. As I've said elsewhere, it would be less of a problem now if it broke or I left it at home as we have built in redundancy amongst our various systemes.

Full(ish) band through the DXR12's. We used to use it for just vocals and the bass drum, but after years of nagging, the band relented and we stick everything through it. I say ish because we only mic the bass drum currently, not the full kit, but our drummer is considering getting a set of mic and a small sub-mixer. Sounds great in most venues, but I'm reluctant to forgo my frfr for bass until we sort out a sub woofer. It just helps fill out the low end lost by putting the speakers up on poles. And likewise me and the guitarists are reluctnat to give up all our frfr backline until we get a better iem solution. Thinking out loud for moment, as it were. I have a headrush frfr 112 on the floor and both guitarists use a DRX10 each on a half-height pole as our backline, with the DXR12s out front. Bearing in mind what I said earlier about keeping one speaker on the floor for low end retention, it's gotten me thinking. We could possibly use the DX10s on the floor, either side as wedges, but at back of the stage and forward facing, with a monitor mix of just guitars and bass so the mics don't feed back. This could help aid low end retention whilst still performing as backline for the guitars. (or use the 12s on the floor and 10s on top). Would this be a viable solution in the meantime?

This is one of the bonus things about me and my two guitarists using a helix and frfr speaker each. If one breaks or (forgotten) there's spare channels to plug into. Ideally, we'd like to drop the frfrs and go iem only which we cab only do once the lack of subwoofer is addressed. The Evox 8 look ideal. Nice and compact and don't take up anymore space in a car than our DXR 12s and speaker stands, and you don't need IEM or monitors. Only trouble is money. The PA isn't "ours". It belongs to the dad of one of the guitarists. We can't expect him to foot the bill to a different solution, so we'll likely go for an inexpensive, compact sub in the meantime and potentially use the guitarist's DXR10s as tops. This has gotten me thinking however. I highly doubt such a thing exists due to physics I don't quite understand, but I wonder if there is a full range powered speaker that can also be used as a dedicated subwoofer at the flick of a switch? This way it could be a used a sub as part of a bigger system, and I could also use it as an FRFR speaker at rehearsals.

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.