fretmeister

Close your eyes when adjusting EQ. Forces you to only use your ears.

To be fair I'd never heard of Pirate Studios until this thread. Not a surprise after looking at their website as I'm not near any of their places. Mind you, my last band had 25 people in it so we didn't fit anywhere other than hiring school halls and the like.

Well, it's not on 9V batteries for smoke detectors that work properly.

I have EMGs in mine with the ABC active balance control. Mid position isn't scooped and is very useful. If I want scooped then I just reduce the mids on the 3 band. Definitely throws me for half a song if I pick up a trad passive jazz though!

I had a J Retro Deluxe with a pair of stacked J pickups: the neck one sounded quite P like. I did find the preamp to be a bit bass boosted / scooped when set to the mid points on the controls so if it is an option to have a flatter starting point I would go for that - especially for P tones as that really is all about the mids. Not tried that preamp with a MM type. The only thing in my mind is that the right settings for the MM might be quite different to those needed for the P. MM often benefits from a bit of bass boost and a bit of a scoop and that normally kills a traditional P tone. If the plan is to use one or the other pickups then I don't see any downsides, but a mix of the two might be more difficult to dial in easily. Sounds like a great project though. When I was planning my PingRay I did think about having both P and MM but I prioritised the MM placement to match a 70s stingray and then meant the P pickup would need to be slightly closer to the neck than its usual position. So I didn't bother with the P. I did think about solving the problem by using a 51 P pickup instead as that was small enough to also go in it's traditional position. But in the end I just stuck with the MM. I might do it in future though - just for fun!

The lowest paid for Moises lets you adjust guitar, vocal, drums, bass, other. So I tend to remove the bass and boost the drums for easier practice and leave the rest alone. More expensive subs do more tracks and try to split up keys from brass and so on but I don't need that. As with all similar stem splitting apps it can get confused sometimes. Like Metallica's 'For whom the bell tolls' the bass intro doesn't get reduced as it is high register and distorted so the app thinks it is a guitar. But overall it's a brilliant bit of kit for practice. Practising with a PC has more options including some free ones like Audacity but I'm not aware of any good mobile device options, or ones that have such an easy interface. https://moises.ai/ It will also tell you chords and key information as a tune plays along. I think it costs me about £35 per year. Can also pay £4.99 per month instead if you only want a month or two. Just don't click on the pro version by accident as that is about £250!

That should be fine. Don't forget to change the FX loop settings in the stomp otherwise your backing track will go through all your FX and sound like crap! It's in the Global Settings. Then if you fancy treating yourself - something like the amazing Moises app will let you remove the bass from your tunes and boost the drums and so on. It's an amazing practice tool. It's not free but there are different sub levels. It will run on your phone easily as all the processing is done server side. You can even save the versions of the songs but with the bass removed if you want. With a bit of effort you could get a 1 or 2 month sub to Moises and save a couple of hundred of your favourite tunes with the bass removed and then just stick them in your iTunes library for future use. No need to keep the sub going unless there are new tunes you want to do.

The second option on that page. The first has entirely too much going on. If you've already got a stereo TRS to split mono TS cable then a suitable lightning to jack headphone adapter that you might already have would do as well.

There's 2 ways. You can either go lightning to a stereo cable into both returns on the Stomp. You'll need to go into the stomp settings and set the FX returns to be a stereo line in. That will make the Stomp do a clean pass through without any FX etc interfering with the backing track signal. Then the stomp main outputs or headphones to whatever you are listening with. The other way is to connect the stomp to the iphone and listen via the phone. This can be very useful if you are using other things in your phone like the camera for videos of what you are doing and that sort of thing. It's USB from the stomp into the phone and then a suitable app. Even something like Amplitube Free will use the Stomp as an interface and let you load up your iTunes library and even slow it down / change pitch etc. I don't think one is better than the other necessarily, just a different approach depending on what you want to do with your combined signal.

Yeah - they'll accept them. They just won't pay out. Dodgy practice if you ask me.

No. They still won't pay out even if their own additional insurance is purchased. The guys on thefretboard seem to use Overland Express - they were set up by a guitarist who is a member over there. I've not needed to use them as I haven't sold anything bass sized for ages, but the f'boarders seem pleased.

That's lovely! There's not enough green basses around.

I've got a couple of these. 45-105 works well and I like 40-100 on most longscales. One on of my SRMD I have Dunlop Medium Scale Flatwounds on it at 45-105. They cost a bloody fortune but they also last an easy decade. That bass has a lot of upgrades too - £300+ of EMG pickups and preamp. The build quality is more than good enough for upgrade spending.

$185 Canadian? That's only about £100 + shipping and incoming Vat. Seems a bargain! Love the idea of mixing in the cab too.

This. There's such a big move to modellers / IEMs even for small pub bands. I haven't seen a raging JCM800 for a good decade.

That sounds like builders going cheap on the build.

I'm wondering how many more strawmen / whataboutery / false equivalence comments that could be made. The proposed law is nothing to do with any of your post. It is to stop people moving / building / developing within earshot of a venue knowing or should have known that it is a noisy venue and then being able to complain and have it shut down. That's it. Nothing else. Land within ear shot of noisy venues often gets bought by developers very cheaply. They then build homes on the land and don't mention the venue nearby. The buyer of the new home doesn't do adequate searches about the location when they should have done as part of a survey, or does them and decides to buy the home in the anticipation of complaining enough to shut the venue. The developers know this will happen - in fact they are probably banking on it and it will likely make the venue fail and be up for sale too. Venues are often on the brink financially so they don't have the ability of say, an airport, to tell the new resident to sod off. And generally nobody can claim they didn't know an airport was there. All this law will do will make developers tell the truth about the properties they are selling, and it will stop new residents moving into a noisy area and then complaining about the noise they were already aware of. It will stop new residents lying that they didn't know about the venue / noise / etc. That's it. Nothing like any of your post at all - all of which can be avoided by not buying a home in earshot: "Your neighbours" made their own decision to move next to a live music venue. That is their choice and for them to move there, and for them to then try to change the behaviour of the people who were there first is the selfish act.

The best soundguy I ever had was for a village fete / beer festival type thing. The stage was used for a variety of acts during the day. There was a kit share with a bring-your-own-snare option and they did prefer that every body used the same bass rig. It was an actually very nice sounding Laney combo and extension cab. FOH took the di out of the amp. I used my little board (preamp / octave / tuner / little bit of dirt for richness). I plugged into the Laney and it was horribly bright - not great for big band jazz, but nice and rocky for the guys on before us. The sound guy just said - change whatever you want, every setting, I'll make sure it sounds good out front. So in the quick soundcheck I did change everything on the amp and also experimented with going into the FX return instead. I had a wireless on my board so I played a bit from out front as well during the SC. FOH insisted that I used the octave a bit in the SC just to make sure there wasn't a sudden explosion of low end. The guy did a great job. Sounded just how I wanted it out front. Thick and chewy with no flub and no excessive treble. Still left enough room for the trombones and the bari saxes. In 30 years of gigging I've never had anyone that good. I do wonder if he was also a bassist. Some of the band thought the bass was too loud - but you know, f*** 'em.

Overhang! aaaarrrrrrgggggggghhhhhhhhhhhhhhhhhhhhhhhhhh! (Nice one)

Then I suppose it comes down to whether you want the baked in T21 version of an Ampeg sound. I like the Paradriver more than the BDDI or the VTDI but as far as I know there aren't any clones of the paradriver. Most BDDI clones seem to be all of the V1 so no mid control. That would be a deal breaker for me. But the new Joyo Tidal Wave appears to be a clone of the V2 and the youtube demos sound good. https://www.joyoaudio.co.uk/bass-effects/joyo-r-30-tidal-wave-bass-guitar-preamp-overdrive-pedal-with-eq-and-noise-reduction-di Needless to say, it's a lot cheaper than a T21.

My home speaker is the HS7 as well. I use an HX Stomp. It’s great. I’ve got a bunch of patches for different genres and it’s great for guitar too.

Ooo! That will make sanding the edges even easier!