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Is there an argument for turning the tweeter in the bottom cab through 90 degrees in this configuration?

If you happen to like science fiction and fantasy, there's a few cats in SF. Heinlein comes to mind, and after checking, there's Pixel, Pirate, Petronius the Arbiter (aka Pete), Friedrich Wilhelm Nietzsche, Miss Polka Dot Ma’am (aka Miss Pokie), Dr.-Livingston-I-Presume, El Diablo, Mama Cat, and Mister Underfoot (some of these are excluded due to gender issues). There's Mr Jones in Alien. And there's also Greebo in various Terry Pratchett books. If he's scrabbling at furniture, how about Scrabble? And for the sake of your curtains and furniture, get a scratching post. Ours have a couple of these https://www.ebay.co.uk/itm/354335902612?var=623735626888 and there's very little scratching at furniture and gig bags.

Get A Grip On Yourself - The Stranglers

Pretty much yeah - It's that awkward shade of grey that shows up any and all blemishes like you've drawn a circle around it! It's my own fault, I should've know better... I'd say it's the amp models and cabs, Al... as seems to be the story of my morning it's a feel thing, they just seem to have more life to them without needing parameters like "sag" and "hum" to dial them in. They're closer to captures than models though in that the SVT won't drive when you whack the gain up; but sticking a vintage microtubes and compressor in front of it does a cracking approximation. The cab sims feel more musical and less dramatic once the amp blocks are EQ'd to suit. The can go into the typical more dramatic IR thing if wanted though The fuzzes are also brilliant, I find fuzz to be a really difficult thing for digital modellers to get right but the 3 fuzzes available are great. The noble block adds something more than low end, some of the newer models like he Orange and EBS blocks will give tube like saturation at low drive settings The pitch shifting is decent - using the pitch shift to do an octave up is nice and clear and sharp, the oc2 approximation is decent as far as digital goes Even little things like the tuner seem well thought out - Long press to access, a footswitch for mute on/off and tap tempo at hand on third footswitch. There were a load of updates before xmas too, Darkglass do seem really invested in this so it feels like an investment in the sense that you know most things will be incrementally improved over time. Everything just feels more premium. The best way I can explain is that to me, the HX stuff always felt flat and 2D.. like a really good drawing of what it as supposed to be, where as the the Ampero felt more like a less accurate sculpture of what it was approximating. The Anagram feels like the best of both. I'll be honest in that most of my concerns come from a) the price tag, b) previous experiences with digital and c) Only hearing it in anger through headphones so being unsure how it sounds in an FOH mix or through my amp. I think I've just talked myself into being happy about keeping it though.. thanks Al! 😄

Cheers Dave - it depends what you mean by "typical"? Any covers band looking to do function work (e.g. birthday parties, weddings and corporate events) needs very good quality promo material to have a decent shot at getting work through agencies, given that the competition will all have it, and it's all the punters have to go on when deciding which band to book. If you check out agencies like Alive or Encore it will give you a good feel for what bands are doing. If you're purely focussed on pub work then you don't need something quite so formal/high quality to get yourself into new pubs venues, in my experience, but having some video footage (even decent phone clips) can be helpful in getting your foot in the door.

Xvive U45 is still mono, but moves frequency from the crowded 2.4 GHz of the U4 to the less busy 5.8 Ghz

https://www.youtube.com/watch?v=oPRPRI65kdk Here's just the bass and drum tracks isolated. It's a great bassline and it's performed superbly. It's interesting how he keeps some notes very short, but uses fretless vibrato on others. Someone mentioned it sounding like a StingRay, but isolated you can hear the woodier characteristic of the Wal compared to the more metallic sound of a StingRay. It sounds like it was DI'ed into the board with no effects - very '80s. Years ago I transcribed both this song and the No Doubt version. Tony Kanal's line is slightly simplified - at the time I thought that maybe the reason why was that they are in different keys - I seem to recall thinking at the time that the key change would have made it harder to reproduce the original bassline note for note but I may be misremembering this. As for the No Doubt version, it sounds like bass guitar but through some kind of ring modulator/bitcrusher at the beginning, and some other kind of fuzz or synth/guitar doubling during the choruses. Other verse parts sound like just bass guitar. It also sounds fairly heavily quantized - you can just about tell it's bass guitar rather than a synth but I'd guess it's been cleaned up/snapped to grid fairly heavily (as was the custom at the time rather than a criticism of what No Doubt did). https://www.youtube.com/watch?v=6Nk3TMyWo1M&list=RD6Nk3TMyWo1M&start_radio=1

The major problem with these Top <insert number here> things is that they're so subjective. Thing is, you're almost definitely going to get the same turgid 50-year old stuff because that's pretty much the listening demographic is of the station. Add to this that the demographic in question are generally somewhat blinkered and unwilling to step out of their comfort zone, hence the same old song choices. Believe me, I know plenty if people who would prefer to listen to Led Zeppelin and Deep Purple rather than even considering anything from this decade. Mark my words. The top 20 will be peppered with Stairway To Heaven. Freebird. Smoke on the Water, Whole Lotta Rosie, Sweet Child of Mine, Bohemian Rhapsody, Alright Now, Enter Sandman, Ace of Spades.

Little update, now I've had it for a while: I'm not convinced. It sounds great (no credit due to Spector there though, as I've swapped out the pickups and the preamp), and is clearly very well made, but it doesn't balance for sh**, so is not comfortable at all in a band situation. I don't really understand how a manufacturer can become so respected despite ignoring the fact that their instruments don't hang comfortably on a strap. My far less fancy bitsa Jazz will by main squeeze for the band for the time being. Question: how much difference would swapping out the tuners for the lightest ones available realistically make?

I just want to see a firmware update for the Helix/HX series that includes a MIDI triggered VCF and VCA with full and independent ADSR envelopes for each.

Bose S1, I've used one for electric bass in all kinds of unplugged situations and it works very well... nice flat response, has enough volume to cope with most acoustic type situations, good battery life and only weighs 7kg... drawback its not cheap!

I haven't actually tracked that, so I am not sure what that upgrade offers? Well, it is less of an upgrade but for me I would still do it. I am lucky in my groups, in the metal group we are entirely IEM but have the P16s so you can have as many stereos as you have people (and get to set it up yourself). In my other band, the drummer has one channel (and seeing as he only has himself in it, I doubt he needs stereo), and the guitarist and singer don't use IEMs - the guitarist doesn't like the sound, the singer won't have any ear protection at all

Hence the proliferation of "Straight Edge" bands. It's now more "radical" not to use drugs.

Always happy and willing to be proved wrong... First time round I went so far as putting them on my board side by side and had my eldest switch them on and off at random and I could definitely feel the difference. I'm in South Shields - a small kick in the backside off Newcastle...

I guess we will have to agree to disagree, Kev. I don't believe it to be my bass or signal chain as it's always first in the chain and this is with Passive P's and Active Rays. Playing is subjective of course, but I use both pick and finger style and half of our set has been solo octave work for nearly 10 years now so I'm confident in my technique when it comes to this stuff. Like I say - I'm glad it works for you and many others and I really wanted it to work for me. I've bought two off the back of glowing reviews (although there were a few others both on here and across the pond who've reported similar experiences). After purchasing an Anagram I was really excited to move my 3Leaf on. May try the MXR VBO next...

I use the solo’d -1 Octave of the OC5 in vintage mode as my ‘clean tone’. It’s always on, 100% of the time. I can’t detect any latency at all and certainly no difference to my OC2. If there is latency, it’s the same as the OC2 and I no longer feel it having played with that pedal always on for years. I actually borrowed a 3Leaf recently from a friend (we did a swap over as he wanted to try my OC2), I couldn’t hear much, if anything, in it tone wise through my set up. There was certainly no difference in ‘feel’ for me either. This is of course, within the context of my set up. Maybe the pedal is more sensitive to other bass inputs, power supplies, effects chains etc? I’d love to do a side by side in person with someone who does feel like the latency is there! It would be great to see if I can feel it using their set up and if they can acknowledge it’s not there using mine etc. In the interest of science, where are you located @thisisswanbon?

my much loved Audio Technica ATH WS1100 headphones have bitten the dust, and are no longer available, I've tried Audio Technica's ATH M-50X's but they haven't got the pronounced bass or depth of the WS1100's. I'm not interested in monitoring with them just listening and practicing through them and I like emphasised bass, any suggestions what to try next?

I guess I can only conclude it's more sensitive to bass/signal chain/playing etc in that case. Odd but interesting.

Phil's right. A banjo is not an instrument that sustains. Its construction - effectively a small drum/large tambourine with strings stretched across it - ensures notes decay swiftly. You could try different heads (an old style, thick head will deaden notes more), a heavier bridge as Phil suggests, experiment with string types and add a resonator if it doesn't have one fitted, but the nature of the beast will mean it won't sustain like, say, an acoustic guitar.

It does though, which is why I'm confused about how yours is behaving in your setup? I've owned a lot of OC-2 and OC-2 types (including the 3leaf clone), and although it was a few years ago now, the OC-5 didn't fall short at all for me. Sure, it wasn't QUITE as rubbery in tone as the OC-2 when directly compared solo'd, but it was extremely close and I'd never tell them apart blind, and there was no latency. Didn't like the other mode at all, but vintage was spot on.

Interesting point. Not sure i've seen a typical covers band do a promo vid. Seen wedding or some tribute bands do it. Dave

There's the caveat though - almost. I've been running it in vintage mode and there is absolutely a difference - it's minimal admittedly but it definitely effects the attack and feel of the note. Punters don't notice it, and the band don't notice it but the fact I feel it and hear it is enough to detach me from what I'm playing. It was especially noticeable to me on sharp staccato riffs and fast upbeat octave playing (as is in the majority of the EDM stuff we do). I've had the same results on two new pedal, two years apart and I really went into this second one with an open mind based on all the positive experiences people have had - it's absolutely a thing.

Does anyone have/use one please? I've just bought one, terrific keyboard but I'm concerned it's faulty. The vibrato/chorus switch (green) doesn't seem to alter the sound when changing between the two, constant vibrato (which lessens with the depth slider as it should) but if there is a chorus I can't hear it. Anyone have any experience with this?