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I rarely purchase elsewhere. That's how good Andertons are. My last purchase from them was a bass head and cab, they gave me loads of advice over the phone, and threw in some extra cables for free.

I know what you mean. He's a bit of a blunt instrument, as it were. He does seem to have an irrational hatred of wearing shirts, though.

A couple of ideas from me (YMMV! etc) Suggest checking out the Boss OC5 for an excellent and great value octaver? I share your pain re. drives: I've got 7 of the things sitting on my shelf which I really need to get around to moving on, haha! I found that my most recent multi (GT1000 Core) managed to match / out do them all which my cheap-as-chips Zoom B1-4 hadn't really come close to doing. But the most important thing about the GT1000 Core is the always on preamp setting - finally getting a tone that I really like and seems to be getting plaudits from fellow BC'ers.

I'd move back to Texas in a heartbeat if I could.

That's the version I had - PJ and three knobs - but in blue like the OP's one.

Ought to be a catamaran with one hull marked "His" and the other "Hers" (making unwarranted but not unreasonable assumptions about the gender and sexuality of the Stugots).

I love the tone Barend is getting on the bridge or neck pickup reminiscent of Thoṅk. Congratulations to the both of you.

Welcome!

The thermionic valve was invented by an Englishman, John Ambrose Fleming, so "valve" is the correct word.

Seconded. I mixed a FoH sound once, in a decent sized venue (not a pub/club). All I did was listen to the stage sound, then brought up the individual instruments so that it just enhanced/reinforced that original sound, no thumping/booming bass drum, etc. There were no complaints about the sound not being loud/visceral enough.

The Fender Custom shop stuff at Andertons is a bit like the DFS sale in that I'm not sure I've ever seen it advertised without at least a grand knocked off the 'official' price. It's certainly discounted (allegedly) often enough that you'd likely be in for an unpleasant suprise a few months down the line if you paid the official price for one.

Oh awesome! A local!

Just received the Tech 21 Leeds pedal that I bought off @Gareth Hughes - I can really only reiterate Nik's comments in the previous post (who has a way with words.....) - a really smooth deal with Gareth with great communications throughout, pedal sent promptly and very well packaged. Definitely one of the good guys on BC! (he even has a Welsh name....) Thanks mate!

My gig last night was horrible. I play is a Stax-orientated soul band. The singer (a good fried of ours) has Huntingtons, and the band has existed to keep him gigging. There are gigs when things go ok (never more than that) but last night may have been gig that we all knew was on the horizon. I won't go into detail, but it was horribly below par. Desperately sad though it is, I think we've reached the stage where he is unable to deliver a gig that can be classed as acceptable. In truth, we're probably past that point already, but we've kept going through the bond of friendship. The guitarist is a particularly long-standing mate of his. To complicate matters, the rest of us are a band in our own right that is, dare I say it myself, awesome. We are well known locally (where this band gigs) and we cannot allow the one to affect the other. Tough decision (in some ways) but it is simply a case of the negatives have now exceeded the positives - and there was only one positive really.

This is why I find it hard to get my head around how people dial in these complex patches on HX Stomps, Fractal, or said FX unit of choice, and have those patches translate well in every environment... Some of these units aren't very tweakable on the fly, so I find the idea of being stuck in very specific/situational patches pretty unappealing. Surely tones, like amps, need tweaking based on room size, etc.

I can never work out if this is just common sense or I am slightly bonkers/obsessive

The classic question of what do you ‘need’ and are there specific tones you’re after? Are the drives too raunchy or just missing a vibe? I had the ToneHammer for a number of years and used it in AGS mode as a slightly warmer low gain drive sound and it was great in this role. It then meant some other low gain drives came alive in this gain staging role. My pedal board is basically a preamp/eq, some compression and a couple of drive pedals. I have the option to add or swap in or out a few things but ultimately for the current pub gig it’s all I really need for this gig. There’s not much room for experimenting and even using some fuzz and octave combined but it’s not quite right for the tunes we play. For this reason I’m just using the basics but they work! I flip from thinking I need more stuff then get it and it doesn’t hit the mark then go back to the basics again, think I should be making more interesting sound only for them to not work and back to the basics again…

As an added comparison, here's the 2018 American Original Jazz playing the same passage from 'Dean Town'... 2018 American Original Jazz w/Fender PV64's American Original Jazz (copy).m4a RW Flea Signature Jazz w/Fender PV64's Jazz Bass 2.m4a Mr.Grey Nitro Daphne Blue Jazz w/Fender PV66's Jazz Bass 1 (copy).m4a