Kev

Obviously sending midi to it is by far the most important thing, but the Meris is made a LOT easier to program by using a desktop editor, and the editor needs to receive midi from the Meris to load and save the presets. I contacted designacable who seemed to think it isn't possible to split a TRS into a midi in/out, so its looking like it isn't going to be possible. Sending Midi from QC to TRS shouldn't be a problem and those cables are readily available (although I'm struggling to find cables that specify what midi type they're for as it differs?). I just don't want to buy that box, but from looking online the other ones available that are cheaper just don't work both ways. EDIT: This is the editor I'd want to use: https://studiocode.dev/ottobit-editor/

So for those familiar with Meris pedals, they're one of those pesky builders who think it's a great idea to not put midi din sockets on their pedals. Meris use a single TRS Midi application to send and receive Midi. They also sell a ridiculously expensive I/O box that you plug your TRS into and get yourself a Midi Din in and out. I don't want to spend £100 to let me use my Quad Cortex as a midi controller, so what I am looking for is a cable to do the job. Is it possible to take a TRS plug and split it into two DIN plugs, one dealing with sending Midi from TRS (tip maybe, not sure!) and one receiving (ring??). Ie basically doing exactly what the Midi I/O box is doing, without having to find space for a big metal box under my board? If it is, who can build it for me?? 😁

Just took delivery of a rather bonkers little Meris unit from Nathan, next day delivery and as described, top gent!!

Haven't seen any sign of the Shuker up for sale so hopefully things aren't as bad as all that after all! If you're active on socials, he has listed a few things that a little engagement with would be a big help!

Didn't he use it on Under the Bridge too, or was that just for the video?

Hardly comparable companies, and Flea left Modulus a good amount of time before they folded, his Flea bass was rebranded as the Funk Unlimited. Also, I think Musicman have made MANY sales from Flea, as he's associated with the instrument, even if he never had an artist model with them. Put it this way, a hell of a lot more people bought a stingray than a modulus because of him.

Oh right, I haven't heard that story, I just knew he wanted a flea signature model. If he was demanding that all Stingrays be Flea Stingrays, that's insane. Is there anywhere I can read about that??

I'm sure the Stingray would have sold just fine without the Tim Commorford and Joe Dart models too, but it still doesn't really explain what he thinks he was "right" about, or how those artist models didn't do wrong by Leo, Tony, Louis and all of the other stingray players?

Interesting, what does he think he got right/Flea got wrong? Sounds like he gave him the opportunity to give him an artist bass before signing with Modulus, and then Ball went ahead and did artist basses in the future with others bassists anyway, trashing his original arguement. Seems without doubt a missed opportunity for them?

Who on earth designed that part of the kit? I mean it's not difficult to do for a tech minded person, but what an awful way to implement a firmware update in 2023.

I just want a better answer than "1 works for me"

So if something did happen that rendered the bass unplayable, jack socket failure, tuning peg snapping, pickup screw failing etc, would you just sit the rest of the gig out or would your band stop playing and call it a night?

I suppose those that don't have adequate control over something like that happening probably do. However well maintained my basses are, something going wrong is ultimately out of my control, why risk it? My band's live setup is pretty complex, with dmx triggered lighting shows, midi triggered patch changes, backing tracks, IEMs, clicks, the works. It's all run off one rack and effectively a macbook, and we are far from being able to afford to have a backup rig. If the macbook dies on the day, we can't gig. It TERRIFIES me, so I like to control what I can control wherever I can.

No, not sure of the exact model but proper US Jazz pickups.

I had the Dave Hollingworth signature model, it was a nice bass but felt like it was built to a budget, and the Bart pickups were oddly quiet (i'd had the same in other basses and they have been fine before).

For those who don't take a backup, is it because you literally don't have one, or you just don't want to, or physically can't, take an extra instrument with you? I kinda get that people are saying that they've never had a problem in xxxx gigs so don't need it (I suppose they don't have fully comp car/home/breakdown insurance for similar reasons? As ultimately that's all taking a backup bass is), but its such a minimal effort if you use a vehicle to get to gigs that I just don't really get why you wouldn't, however unlikely it may be.

I've thankfully never had to use a backup, but I've seen many who have needed one who didn't bring one and have either had to stop the gig, try and restring or otherwise transcribe as they go, and it looks totally unprofressional. It's an anxiety I don't need

Always two. Have to have at least one as a backup, and i'll often use them both for different tunings. I'd never take more than two unless I have rodies

To be honest the only one that stands out as being TOO cheap is the Mesa, mainly because I don't know anything about the Arkham and I swore I had a similar Jazz that didn't go for a huge amount more. I think they would have scammed many more if he'd have gone the FB route instead, that's assuming they haven't...