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Thanks guys, thought it was possible but that I should check there wasn't some fundamental deal breaker in compatibility before I muse on it further

As @Paddy777 said you should be able to operate both Anagram and DMX controller together or independently using the Morningstar. Depending on how your setup is used you may need to use different midi channels for each peice of equipment. 👍 You've now got me thinking about my band set up.......💰

If you’re asking if you can use the Morningstar midi controller with it then yes you can, I’ve seen a few Anagram setups in various FB groups with exactly that setup, so yeh you’ll be fine with that

When Scotts Bas Lesons posted a clip of this on Instagram they got a reply from Dave Hills, who was one of the sound engineers on the original track, saying there's no acoustic bass on there. I can't 100% vouch that the guy posting as Dave Hills is who he says he is but he seems to check out.

Anyone can stencil "New Order" onto a tatty old flightcase.

Hi all, I am trying to work out if the Anagram might be right for my needs, hopefully some of you are able to advise. I currently run an fx board with a Morningstar switcher controlling both effects selection and sending midi to a DMX lighting controller. This allows me to single click changes in both effects and lighting live. I assume if I was to go with the Anagram that I would be able to take a similar approach and use the Morningstar to change effects on the Anagram? I don't have a huge numbers of settings, usually just ~4 key sounds: OD, Distortion, Chorus, Chorus + Reverb. I sometimes dabble with additional drive/fuzz sounds but these 4 are the fundamental ones I need to switch between. Is this going to be easily achievable?

It's always good practice to have your fretting fingers as close to the fret as possible without choking the note out. It helps to reach notes without excessive stretching when using the four finger per fret approach. Some say you get a better tone too, but I'm not personally convinced of this.

It might have been a problem with early flip paint finishes, but I think the Gus had just had a very hard life prior to me buying it. As I said the chrome work was in a similar state and several parts including the truss rod cover and the one on the back that gives access to the intonation and action adjustment were missing. The Hiscox case it came it was so battered I've never dared use it to take any of my basses out of the house. I've now had the bass for a lot longer than the previous owner and it's been my regular gigging instrument when I've needed a 5-string for the last 18 years, but apart form a couple of dings on the headstock it's pretty much still in the condition it came to me after being refinished.

It's one and a half hours long. Haven't got time to watch that. I need an AI to summarise it for me 😉

Great talk about Mike Starr's bass sound here. It's mostly about the song 'Would?' but there's a great bit at 08:40 that's worth looking at/listening to! Click here> You Tube link to SBL

The other thing to remember is that not every record was recorded at Abbey Road or similar "professional" recording studios. My first venture into vinyl was recorded at a cheap 4-track studio situated in an outbuilding behind a musical instrument shop on the outskirts of Leicester. The equipment was basic, mostly repurposed PA gear and the only effect was reverb/delay from running a feed through a spare 2-track tape machine. Our instruments weren't much better being a mixture of very low budget and home-made. Our previous releases had been on cassettes that we had duplicated ourselves in real time and consequently we mixed the new recordings in the same way, forgetting that we didn't need to compensate for two generations of tape bounce before they reached our listeners, The end result is thin and weedy and very trebly and no amount of flash HiFi is going to make it sound better. In fact the worse the playback system is the better it sounds.

One small query... Why does it have to be hum cancelling? If you install proper copper foil shielding, you get a hum free bass. The Walnut/Graphite Jazz I've just had built is shielded properly and it has no hum at all from the Fender Pure Vintage 66 pickups. (The 64 versions in my American Original Jazz can be a little hummy at times with the standard Fender cavity shielding paint.) My American Professional II Jazz has the Fender V-Mod II pickups with the Alnico 2 magnets on the bass side and Alnico 5's on the treble side and that sounds suitably vintage with that warm bottom end, and is completely hum free. So top of my list for passive Jazz pickups would be the Fender Pure Vintage 66, Lollar 60s and Lindy Fralin 60s. All of these have the rich tone, thumping bottom end and clear yet not harsh highs.) Every time I've played a Jazz with 'Noiseless' pickups, they always sound flat and inert when played passive. When you switch the preamp on, it's another story, of course.

Bought a Vanderkley cab from Dave. A pleasure to deal with, he boxed it up really well for shipping and got it to me quickly. Thanks Dave.