SumOne

My usual Helix thing is: Sell individual pedals > buy Helix > think it's great > get a bit annoyed with the amount of time I spend programming presets and lack of instant hardware controls/visability and individual footswitches> realise that individual pedals often sound slightly better (especially synths and envelope filters) > buy a few pedals to free up Helix blocks/footswitches have extra control and and sound better > decide that now I've got a few individual pedals that need a power supply and pedal board so I might as well sell the Helix and do it all with individual pedals.....repeat with a different Helix product a few months later...repeat forever! I'm hoping that the combination of wireless, a lot of footswitches, more hardware controls including an expression pedal make the Pod Go a winner. It's a shame it doesn't have the processing of the Stomp - block limits might be an issue but 90% of what I play just needs Tuner + Distortion + Preamp+ EQ + Compressor so hopefully it covers that well enough + the modulation and delay stuff that will be good with the expression pedal. I'll probably buy something like a C4 to cover envelope filter and synth things.

I'm going to get a Pod Go Wireless. Partly as I have been looking into wirelss systems and the Relay G10 II transmitter/receiver alone costs about £140. Also partly as I want some specific expression pedal effects which don't seem easily achievable with individual pedals or cheaper multi FX (a couple of things I want are: expression pedal simultaniously reducing bass while increasing mids and increasing reverb, and expression pedal increasing echo + reverb + distortion simultaniously). Those things alone make it worth getting for me, but also lately I've only been using EQ, Tuner, Compressor and a light bit of Overdrive so I should be able to sell them to cover most of the cost, and it simplifies things down to one bit of kit. I have already owned the Helix Stomp, Stomp XL, and Helix Effects though so I have no doubt that I'll get bored of it and will sell it to get individual effects in a few months!

Embracing the early 90s futurism of this Bass (seems to me it wouldn't be out of place in the Back to the Future 2 version of the future) with glowing fret and knob markers: ....am tempted to get carried away and go full-on Tron style and add purely cosmetic glowing lines and dots on the pickups and bridge and headstock. It's hardly a subtle looking Bass so not much point holding back!

I've added glowtec fret markers (also to the knobs), I think it's a good look as this body colour already looks like it should glow. Time will tell if they stay in place and and looking clean:

They are useful reviews on here. I've owned a EHB 1005 MS for a week now and my thoughts are: Good: Sounds good. I think it makes a great consistent sound with no noticable dead spots, all strings feel part of a team. The 3 band EQ with sweepable mids is good, loads of different tone options. Comfortable and easy to play: I can play certain fiddly things that I struggle with on my Jazz Bass. I guess that's down to the slightly tighter string spacing (18mm vs 19mm), neck, fanned frets, and fret access - which is very good. It's lighter than I expected (3.3kg) but being headless is still well balanced so it makes it very comfortable to play standing up for a long time. 3hr long band practice a few days ago was fine, my legs got sore before anything to do with the Bass. Reasonably low string action (but not amazing). Multiscale: The 35"-33" multiscale is good, consistent tone and tension across the strings and 35" seems plently for a good clear B string. (I've owned a Dingwall Combustion with 37"-34" which was less comfortable to play as it has more extreme fanning either end of the fretboard and a longer reach needed. The longer B and E on the Dingwall are great but the A, D, G string perhaps felt a bit too long and a bit twangy in comparison to the Ibanez.) Headless: It is relatively easy to tune and it holds tuning well and intonates well. It doesn't need specific headless strings, and I guess normal string sets will work fine with it - especially as it doesn't need any string length to wrap around tuners. Small things that are not so good - but easily fixed: The neutrik locking jack is annoying - but the lock part can be disabled easily. Side dots are small and aren't very clear - but stickers have fixed that. Lower parts of the stacked knobs are difficult to see where they are set - but tippex has solved it. A couple of very minor quality control things, small paint splatters, the edging around the control panel is a bit rough - but the small paint spatters have almost entirely rubbed away and it will be a quick job to do the sanding. I thought the contoured back was going to be an issue as it angles the fretboard upwards a bit so potentially more reaching around needed to fret which I thought will be uncomfortable - and it did seem uncomfortable for the first few days but a bit of strap height adjustment and time getting used to it and it seems fine. It didn't make my fretting wrist sore after standing and playing for 3 hrs so I guess it's not an issue and just takes a bit of getting used to. My only on-going slight issue is one with multiscales in general: Generally on non-multiscales I pluck vertically down through the strings - parallel to the pickups i.e. if I pluck just in front of a pickup on the B string on a Jazz Bass I also want to pluck slightly in front of the pickup on the G string for consistent tone (in fact, it usually sounds more consistent plucking slightly further towards the neck on the G). On a multiscale though you need to pluck quite a lot further forward as you play the higher strings in order to be the same position relative to the pickup, it doesn't seem like a natural/erganomic thing (although isn't as extreme on the Ibanez as a Dingwall), it'll hopefully be something I get used to over time though. Overall it's a great Bass and good value for money. I think I'd go so far as to say it's the best Bass I've owned in terms of comfort, playability and variety of tones (and that includes more expensive things like USA Jazz V, Sandberg TM5, Lakland 55-02, Dingwall combustion).

I've found it to be very pedal dependant. Daisy-chain power seems to works fine with many pedals, but some don't like it. Certain cheap power bricks aren't advertised as isolated, they are a bit of a false economy as they are basically daisy-chains in a box. Even with some power bricks that are advertised as 'isolated' I've been told by a pedal manufacturer that "while some power supplies advertised 'isolated' they only have separate regulators, filters and over current protection for each of the DC output positive terminals but the output negative (ground) terminals are still bonded together - which is not a true isolated supply......Sometimes in a pedal board there are ground currents that cause the sensitive threshold detector circuits in the compressor to trigger without any audio signal. This issue is almost always power ground loop currents between the pedals with a power supply that has a common ground like a daisy-chain or power brick with the grounds bonded together." So that leaves the high-end fully isolated (and fully-expensive!) power bricks. .........or , go full circle. I don't use many pedals at the moment so I've gone back to using individual power supplies which isn't actually all that much bulkier and I guess in some ways is a better guarentee for them each being fully isolated and each getting the correct volts & current, and not having all eggs in one basket if a power supply breaks. So if just powering a four pedals perhaps just buying four individual power supplies @£10 each (or fewer if you can daisy-chain some pedals that don't mind being daisy-chained) plus a 4 gang 5m long extension lead @£10 (longer, and tougher than most leads that come with power bricks) is cheaper and in some ways better even than even the vey high-end fully isolated bricks.

I don't 'need' any more pedals (I play in bands that don't require any effects - just utility pedals) but this forum is serious temptation - to the point I might need to make an effot to not visit! My current Basschat induced GAS is: Boss RE-2 or 202 MXR Poly Blue Octave Strymon Deco Cali 76 Bass Compressor And if Behringer release a decent and reasonably priced clone of the MF-101, and Source Audio release a C4 'XL' with a more preset access and a few more hardware controls (similar to their Collider/Ventris/Nemisis) I'll be all over them.

Nice! I've been after a MF-101 but couldn't bring myself to spend £500+

I am 6'3" and have had a few comments about how small the Bass looks when I play it. I do think it might look a bit ridiculous on me - especially as I got a sea foam green one that makes it look a bit like a toy even if it was bigger.

Bought a compressor from Paul, it's all exactly as described, good communications and delivered by hand - quality service! Thanks.

I'll eat my curved back words: Had a 3hr band practice last night, non-stop on my feet the whole time and no fatigue in wrists of shoulders or anywhere else from playing the Bass (my feet got a bit tired but I don't think I can blame the Bass for that!) so I guess that raised fretboard angle isn't an issue and possibly is a benefit. Or perheps it'd be even better if it sat flat, doesn't really matter though as it's good how it is. Also, the Bass sounded good played loud in a band mix: Small/lightweight to transport and play, comfortable, stayed in tune, intonates well for every fret (not just open and 12th - an issue I've had with other Basses), easy to play and access all frets, reasonably low action (not the best but not bad), good variety of tones, looks different and interesting and like they have made an effort to be forward thinking in design and looks rather than a copy of a 50 yerar old design my grandad would've played. It's a keeper.

Are you in the UK? Andertons, GAK, Gear 4 Music, Guitar Guitar all look like they have quite a full range in stock.

I haven't heard it mentioned as a negative thing very often and as it's deliberate design choice for improved erganomics I guess the majority of people like it, but personally I'd prefer it to have a normal flat back so the fretboard sits more vertically rather than the lower side being slightly angled upwards. Perhaps I'll get used to it though and I don't think it's a deal breaker as it's not a huge angle, or hopefully it can be countered fairly simply by doing something like sticking a bit of padding to the top of the back. Overally I think it's a great Bass, the back contouring is the only real issue I have with it.

I recently got a EHB 1005 MS which I think has identical body shape. It's a great Bass but I'm not sold on the back contouring - it means the lower side of fretboard is lifted up at a slight angle so you need to bend the fretting hand wrist around a bit more which I find a bit unconfortable. I'm considering bodging a mod (like taping on a bit of padding to the upper part of the back).

I like mucking about with things like envelope filters and synth pedals but in a band situation it's only tuner, preamp/EQ, compressor that I need. They are aalways on so they sit on top of my amp rather than taking up floor space. Extra pedals would occasionally be nice but that's offset with being more to transport, added power required, more potential for noise, loose cables, incorrectly set dials, clicking on by mistake, taking up space on the floor etc.

Humble pie

Ah nice one.

Nice one, I just got an EHB 1005MS and this is the first thing I'll be changing. And fitting better side dots is a good move (although I'll probably go the cheap method of stickers for the time being). The other minor thing I'll do it put a bit of tipex on the lower parts of the stacked knobs as it's difficult to see where they are set. .....all minor things that are cheap/free to do. Overall I'm very impressed with the Bass. Early days to say this but I think it's my favorite Bass I've owned (my Bass history being: Squier Jazz, MIM Jazz, Ibanez SRMS 805, Dingwall Combustion, Sandberg TM5 SL, Lakland 55-02, USA Jazz). The stock Bartolini pickups seem good to me but perhaps after more time I'll notice shortcomings. I saw the LowEndLobster video where he recommended swopping for them for Aguilar's but I couldn't hear a huge amount of difference for £300. Aguilars seemed perhaps a bit more defined and punchy - is that the difference you noticed?

However it's done I wouldn't mind a voval count in sometimes. One of the trickier things I find with Reggae is the count in (well, not vocalised - but the drum roll count in). A couple of examples: I've learnt it off by heart but I can't figure out the timing. Cymbol - Rest - Kick - Snare - Bass (leading note) - Bassline starting on the on the 1? Or: 4 beat drum roll, then 1 beat cymbol/rest with bassline starting on the 2nd beat? Again, I'm not really sure but have just memorised how it sounds.