fretmeister

No. Its actually the fault of Limelight for putting the logo on in the first place when limelight knew they didn’t have permission to do so. Intent to deceive does not matter. See my post re disclaimers not changing the illegal nature of the product.

Fender's official position is that if a person buys 100% of parts directly from Fender and assembles it themselves then it is still NOT a Fender as it has not been assembled and quality checked by a Fender employee or otherwise authorised person. It is NOT a "Fender guitar" it is a "guitar assembled from 100% genuine Fender parts" I love these discussions - full of "what about...?" and "I don't agree with it..." and "The law is an donkey..." type posts. So what? The law is the law and it applies to all. 1: Making your own instrument with a Fender logo is legal. 2: Selling an instrument with a logo on it that shouldn't be there is ILLEGAL 3: DISCLAIMERS / EXPLANATIONS / DECLARATIONS of "it's not real thus I'm not passing off..." DO NOT MATTER and do NOT make the an illegal item legal again. The law is VERY specific. You might be honest but the next person might not be. It's far easier to remove the half-hearted "limelight" sharpie note from the back of the headstock than take it off the front. Your personal honesty about an illegal item is irrelevant. It is the item itself that is illegal. 4: All items with a logo that shouldn't be there (guitars / toasters / pants / handbags etc) become counterfeit the instant there is an attempt to sell. At that point they items can be confiscated and destroyed and the person selling can be prosecuted by Trading Standards and can be sued by the owners of the intellectual property. 5: Individuals who've made a single counterfeit don't usually get in trouble as the trading standards budget is too small. 6: If you have a business based on selling counterfeits - like Limelight - then there is a risk of prison time. Wasn't long ago when a handbag selling lady - selling with disclaimers - got sent to prison for just that. 7: the fact that Fender haven't taken action against any counterfeiters does not mean they approve or even tolerate it - again it comes down to their priorities. 8: "There is no way I'd be able to have one otherwise..." is not a defence. You still haven't got one. You've got a fake. All you've done is helped the counterfeiter stay in business. Several other forums have banned counterfeits from being sold at all. I approve of that. I wish it was the case here too. It doesn't matter if someone doesn't agree with the law. It applies. If you want the law changed then lobby your MP. Until that time, selling a wrongly logo'd item is illegal and represents theft of intellectual property owned by others. Fender own their logos and get to decide how they are used. They might well want to allow a stinky poo factory in the derrière end of nowhere to use them - it's their choice. They might decide that only US instruments can use them for a future run. Again that is their choice. And once again, if you disagree, that does not matter 1 little bit. The law applies. Now, if you want a jurisprudence debate on the nature of counterfeit items then that is different. There's an awful lot of research out there on the impact to employment / income etc and even personal losses and injuries caused by counterfeit products like any item with heating elements not made properly. All products are treated the same. It's very easy to get into a "it's only a guitar" mindset and not think about the fake toaster burning a house down.

If it’s worth doing, it’s worth overdoing. thats why I love Doug, and Billy, Les, Stu, etc..

Wasn't it the original bassist in Saxon who said open notes were vital to rock music... If there were no open notes he couldn't point while he was playing!!

Ease of playing is all. I don't care beyond that. Also my favourite bass (for today anyway) has a zero fret so there's no tonal difference.

Darkglass VMT does a great Ampeg impression.

No - is there much of a change?

I like it a lot. The tone control in particular is very useful - much like in the M900 amp I tried it with my Urge II (mainly because my P-Ray has proper old thuddy flats on it which sound crap with drive!) and it was thick, chunky and clear. As the Urge II is really a posh P bass it already has a loads of mids so the new Mid button was overkill and not in a good way. But I imagine that being very useful with a Jazz bass or other naturally mid scooped bass. The Grunt switch is excellent. If the blend is at 100% it might be a bit OTT depending on the amp settings, but when used with a bit of blended clean it gives some excellent..... heft..... to the low end drive. It's definitely more aggressive than the B7K too. The biggest problem I now have is that it won't fit on my Nano board unless I remove something. So over the holidays I might dig out my Pedaltrain Junior and load it with all the drive pedals I own for a proper comparison.

http://www.ovnilab.com/ and his top picks http://www.ovnilab.com/reviews/toppicks.shtml

Marshall ED-1. Very under-rated. I love it. Can be a little noisy at high settings, but for common use no problems. Despite having Cali / Empress / DG compressors I still use one a lot.

Version 2 is supposed to be more like the circuit in the M900 amp, so I'm very interested to see how close that is. Will give it a go this evening.

Just to clear up the Bernard Edwards thing - he swapped to rounds in the late 70s. Here is Nile confirming it.

I'm a singist too. I've got 2 TC Helicon boxes - the Harmony Singer and the Mic Mechanic. The HS is very good, but it gets all the harmony info from a guitar. If I'm just chugging R 5 R power chords then it doesn't know if I'm in major or minor - it needs more info to work. When it's done right it works very well. Singing a note and then just swapping between say A major and A minor makes a big difference. You can also give it a bit of a heads-up by playing the intro chord before you actually start the song. As always though - the more subtle in use the better it is. If the generated harmony is too loud then it's a bit crap. Subtle is the key. The MM is awesome. It doesn't do harmonies. It's just really a preamp but it has a preset de-esser, EQ, and compressor in it. There are 2 presets (notionally 1 male and 1 female but it's more about range than anything else) and the tighten up the vocal beautifully. Just set your PA flat and let the MM do the work. It also has verb and some gentle pitch correction. It's always in my gig bag.

What firmware did it have on it when you bought it?

My Sharona Nutbush City Limits Red House Sir Duke Big Bad Moon We’re not gonna take it The Real Me.

For small gigs and practice I use my main amp. It has a volume control.

The very moment the bass was sold the old owner doesn't get a say in what happens to it anymore. That could be if it was repainted, split for parts, used as a baseball bat or sold on for more money. It doesn't matter if that was the buyers intention or whether on the morning he got the bass he lost his job and needs some cash fast. To complain about what the new legitimate owner wants to do with his property is pathetic and infantile. A few years ago I sold a pair of Markbass cabs on here to a guy somewhere in europe. Might have been France. Can't remember. Anyway - after about 6 months he decided they weren't for him and put them up for sale. I didn't notice until a prospective buyer sent me a PM to demand to know what price I had sold them for (and it was really a "demand" and whether the current owner was ripping me off. Turned out that the prospective buyer didn't even think about shipping costs to another country (seller was doing an inclusive price) or market changes (the cabs had been discontinued and there was a bit more interest in them) or any other factor - like changing in shipping fees or even the use of a different speed of shipping service. He also seemed amazed that I genuinely did not give a flying flip at a rolling donut about the new price for the cabs, and he got quite upset that I wouldn't tell him the final sales price or the shipping cost to get them abroad in the first place. Apparently not divulging the content of private discussions is "against the community spirit" or some other bollocks. Absolute tool.

Nice. Looking forward to pics of the finished article.

It really is a cracking bit of kit. You can even decide to split each path again and have 1 sub path with a Cab model and 1 without. Or run your XLRs to the desk but then set the USB to do something different to record straight to a DAW.

What colour hardware are you having? Going to look lovely. Alas I reckon the chance of getting anything cleared by customs and delivered now before next weekend is exactly flip all.

You can run 2 instruments - use the main input for one and the Aux in (full fat) or a Loop return (LT) for the other. Then Just set Path A for 1 instrument, and Path B for the other and keep them completely separate. Just remember to also set the outputs separately as well so they go to different board channels. If neither path is stereo then just split left and right on the XLRs. If, for example the bass is mono but the guitar is stereo then use the 1/4 outputs for 1, and the XLRs for the other

Quite. My fingers don't have compressors and envelope filters in them. And for some strange reason my fingers can't make a set of rounds sound like flats.

There's always the Doug Wimbish model for a jazz neck option, and the Ian Hill is smaller front to back.