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I bought the two vein taps Rupert was selling, completely hassle free and perfect transaction, thanks dude!

Tbh the Roland response sounds like they just agreed with you and don't actually know or really care if you can just exchange it. I think if the other patches are OK, the new one will be the same. I'll give mine a go on that patch later and see. Of course in a synth mode if the input isn't triggering the synth properly then it will cut out and sound rubbish, but even if it's dialled in perfectly the synths on it are borderline useless anyway, from memory.

Alright, own up: how many of these 14 people are Basschatters watching it for the Schadenfreude?

Sustain? We don't need no stinking sustain!

That’s the ticket, turn every note into a dead note. Jameson never needed sustain!

Beautiful bass I’d love to own one day! https://ebay.us/m/dWJpSP

Nothing too complicated,its the intro i had a problem with.

I always have a compressor and an octave on my board, and often have some flavour of drive and envelope filter. Rarely have modulation unless a specific song really needs it and it would sound wrong without. For covers that had modulation but it's not important then I don't bother.

I would suspect "stereo" wiring so that each half of the split pickup can be routed to a different amp. The rest of it? Surely it's "mojo"?I

I'm dying to come across to hear these John. I gigged in a small venue this Saturday with my band and my RCF ART745's were just way over the top and physically narrowed the stage. The volume limit was restricted by feedback so I was just carrying a lot of cabinet for no reason. My duo sound every bit as good with just the ART310's and I'm thinking a smaller rig for smaller venues with the band might be justified. We rehearse in a bigger venue than we usually gig so I've got the opportunity to try out a smaller system.

I'm always slightly worried when somebody buys equipment I've reviewed so I'm really pleased the Flow 8 is working well for you. Mine is sitting on my desk doing it's thing so much better than my old Alesis without a hiccup despite being on 24/7. I've only used other peoples Alto 408's a couple of times at open mics but I'm really impressed with the sound for vocals /acoustic instruments which I find better than the Alto 12" cabs.

Thanks Kebakid, it's a very capable little setup. All in all a very different sound from my TC Electronic and MarkBass rigs.

Thanks for taking the time to answer my questions. The lead times are one of the things that worry me. For your release it's currently 3 weeks for the CD and almost 6 weeks for vinyl, which seems somewhat excessive, when I consider that in the days when I used to do this myself at home for promo copies for my band, each CD took less than 30 minutes to produce and would have been even quicker if I had a separate printers for the on-body and the wallet. Maybe these long lead times are a result of the service being more popular than the company can comfortably deal with? I had a look through these and some of the information directly contradicts what I was told the last time I had any vinyl commercially produced which was for the best audio quality I should aim for no more than 12 minutes a side and cut at 45rpm. This is why many current vinyl album releases are in the form of two 12" "singles" even though the music would comfortably fit on a standard single 33rpm disc. I suppose if they only offer 33rpm discs then they are going to downplay this information. However that means that giving some guidance on the running order of tracks, and why it is good idea to put all the fast/loud/energetic songs at start of each side and put something more laid-back as the closing track, should be paramount, but I have seen nothing. Of course there's nothing stopping you from having whatever track order you want, but from experience putting something loud and energetic at the end of a 20 minute side makes it sound less impressive than it should. There are ways around this, but they involve a sympathetic cutting engineer and several test cuts to achieve and are not really within the scope of an on-demand service. The big advantage though is that because this is an on-demand service I could do several of my own "tests" with different running orders under the guise of different releases at £27.90 a go before settling on the version I think is the best compromise for the official release. I think also we'll probably do the CD version the traditional way as there are plenty of services offering proper glass mastered CD runs of 250 minimum at very competitive prices with a lead time of around 2 weeks for the complete production run, and from experience actually having physical product on the merch table is always more lucrative. However I think PoD makes sense for 12" vinyl formats as IME they are too unwieldy to sell at gigs and too easy to get damaged if the same copies go for too long without being sold. We'll probably get 5-10 copies ourselves just so we've got some on display, but I certainly don't want to end up with 350 unsold copies of an album on vinyl again.

Agree, you have to work with them to get them sounding right. We had a guy come along to one of our rehearsals to do some vocals and he had one of these pedals, it made him sound like he was underwater, was like being part of Captain Nemo and His Underwater Show!

I'm going to take a look at the V3 as I'm coming to the realisation that the Ampeg sound(s) are more me Enjoy your new rig

I am out. Gf bought me my old MTD Super 5 I had a couple of years ago and regretted selling. It doesn't count as unsolicited as we'd swung by BassBros to pick up my Dad's unsold guitar and I spotted it and went OMG.