MichaelDean

I wonder if the big volume control was the hard to source part? It seems strange to omit it otherwise.

I just had an email from GAK that they've brought it back. Must have sorted out the missing component or maybe a redesign? Might need to get one. https://www.gak.co.uk/en/boss-katana-go2-guitar-and-bass-headphone-amplifier/972558

One of the things that annoyed me when I added the guitar effects to my B3n was that there were some really good reverbs and delays that were on the guitar version and are essentially universal. Zoom basically said, "Nah, bass players don't want fancy time based effects". I've just counted and there were 9 extra delays and 8 more reverbs. The particle reverb was really cool and I did use it before I moved the pedal on.

I'd wager that you won't be able to get the 60b+ ones onto the 60b. I don't think the + ones have been hacked yet, and then they're probably going to use a newer processor to handle things which probably won't be compatible with the older version. For example, the B3 effects didn't work with the B3n hardware.

Nothing helpful to add, your question has been answered, but, Jesus, that's a massive tuner! 😅

It depends on how you use it. It can be nice to sparingly use some to give some air to a solo bassline. At the other end of the spectrum, you can use loads with delay and oodles of dirt to make a wall of sound. I think maybe it's possibly not an always on thing for bass like a guitarist might use it, but it can be used to good effect in the right places.

Could always put a P neck on it...

BASS15 is the discount code. Well worth the money.

Jazz style. Is that the olive green one?

@LukeFRC pipped me! This should do it for cheap. https://www.amazon.co.uk/Mikinona-Aluminum-Electrc-Enclosure-Aluminium/dp/B0BXKP4KPY/ref=sr_1_5

I like a high-ish tension. My open low C just slams, as confirmed by other bassists! The guitarists in my band are quite happy with 10s tuned down to drop C too. I much prefer the tension of 11s on my les paul copy.

I wasn't terrible at recorder, but I didn't stick with it for longer than I needed to. I did attempt clarinet too. I couldn't get my 8/9 year old head around needing to transpose everything. A previous manager of mine did a music degree on recorder. She said it was so handy just being able to put it in her handbag!

I'm using a Newtone set of .125, .09, .07, .05, .03 for CGCFC on my Dingwall. I'd recommend something in that ballpark.

I used to practice in Old Chapel while I was living in Leeds back in 2005-7 - looks like it's been upgraded! I remember there were rugs hanging on every wall and the whole place smelt of stale smoke 😅

Sounds quite nice in this snippit.

The prices of the "entry level" ones have gone up so much. I got my Combustion for £1350 new in 2019 from Bass Direct. The equivalent model does come with a gigbag and a quilted maple veneer now, but it's £2100+ depending on the model. That's a huge increase in 6 years.

Really good rehersal last night. First of the year and good to blow off the cobwebs! I love my current gear. My Dingwall just has so much fundamental, it's almost like the concentrated tone you get from a short scale. My Digbeth just does exactly what I wanted it to do, be bassy and a bit darker sounding plus a bit overdriven with gobs of power. I've also started programming banks of patches for specific songs on my GX-100, and it's going to be revolutionary for me! No more tap dancing, just selecting the right patch for the bit of the song. I'd assumed that I'd not have enough options per song until I'd started on it, but the GX-100 lets you have a different set of toggles if you press again on the selected bank (CUR NUM option if anyone is interested), so I can arrange things within the banks of 4 patches and then have some optional weirdness should I want it with the CTRL buttons. It also means that I can get rid of bits not being used in specific patches and maybe look at other options to get weird with my sound... I want to try splitting my signal and sending some to a guitar amp for heavy sections or when someone is soloing. We recorded some quick reference tracks for an upcoming studio session and did a bit of writing too.

We use SumUp. It's really easy to use and has definitley resulted in sales because we can take card. They took 25p from a £15 t-shirt. Totally worth it to have made the sale rather than not made one.

You don't need it though with the full fat one though. That can be controlled with MIDI anyway.

https://github.com/Builty/TonexOneController?tab=readme-ov-file

Fresh from NAMM, it looks like Anderton's have got the Hils headless shortscale on their site. Single humbucker, passive, 5 piece neck, stainless steel frets, comes with a gigbag. Should be very light if the guitars are anything to go by, I think some of those have been around 4lbs. https://www.andertons.co.uk/hils-hnb3-headless-shortscale-bass-satin-ivory/

I was looking at that yesterday with the view to maybe getting a ToneX One and controlling it from my GX-100. I'd be very interested to hear how you get on with that!

I think they are the same, but with the Thomamn branding. It's at the top of my list for a replacement gigbag.

They do have a workshop in Japan that makes custom shop instruments, owned by the parent company of Ibanez, Hoshino Gakki.

The serial lookup on the Fender site says Lake Placid Blue. Lovely looking bass!