BigRedX

There seem to have been a few furniture companies that also made guitars as a side-line. My ex-boss claims to have worked for one here in Nottingham in the early 60s, but I can't find any hard evidence for any having been made here.

That's what I was trying to say - the joins are normally offset, as can be seen on Paul Simon's bass, so that they don't go through the neck pocket. That's why taking the neck off will be an important check.

Have you checked that the Zoom devices in question actually respond to MIDI commands? When I was looking at them for another thread, I was surprised by just how many didn't. The presence of a USB socket does not mean that they accept MIDI via USB as it appears to just be for programming the devices via the Zoom app. I didn't have time to look at every Zoom pedal, but after 10-15 minutes on the site AFAICS only those with actual DIN MIDI sockets will respond to MIDI commands.

Next time you change the strings, take the neck off and have a look at the join in the neck pocket and see if there is any sign of it coming apart. TBH I thought even two-piece bodies the joins were off-set so that all of the neck pocket was in the same piece of wood. Can someone prove me wrong?

Without seeing the mixing desk channel settings and fader positions for all the DI feeds from that rig you really can't say how important any of those elements actually are.

So what's in the OP video then?

And WIDI is via WiFi not Bluetooth. We're talking about Bluetooth latency. And while latency won't matter in situations like this, in most other MIDI applications the timing needs to be just as tight as it would for audio streaming. I use MIDI live to control the patch and parameter changes in my Helix, many of which occur mid-song and on occasions I have spent considerable time ensuring they are placed in exactly the right location so as not to cause glitches because the sounds change mid-note. That means placing them as close to the start of the first note with the new sound so as not to loose the attack, while still maintaining as much of the tail of the last note as possible with the previous sound.

How does that work then? Latency is latency and if there's too much delay for audio there'll also be too much delay for MIDI data.

The problem with iLok is that it is brilliant idea very poorly executed. The idea being that your paid-for software is entirely portable. You can put it and the licenses on the iLok pen drive and plug them into any computer and use the software immediately where ever you go without worrying about transferring authorisations. and so on. Unfortunately a lot of the time it simply doesn't work as advertised and there appears to be too many instances of the iLok wanting to "phone home" and when it can't that's when problems arise. I had decided that if I couldn't do what I want with the plug-ins that come free with Logic then I don't need to do it. I have broken that rule twice but both are for non-mission-critical plugins so if they decide to stop working I won't have lost anything.

I think I would want silence. IMO music has become so ubiquitous that it is now under-valued, and besides people are going to talk over it anyway.

No resistors in the wiring diagram that you posted. Just four switches one capacitor and two potentiometers.

Interesting that one of the DI feeds is essentially immediately after the bass, and the cabs make no contribution to the FoH sound.

If all it is doing is turning an unbalanced line-level signal into a balanced line or mic level signal it really shouldn't matter what you choose as I would expect them all to be as transparent as the transformers or circuitry will allow. If you want the minimum of fuss I would choose something passive with separate inputs for the different levels of attenuation required. I've been using EMO DI boxes for the last 35 years. They are completely reliable and bomb-proof, and I've only ever had to replace one in all the time I've been using them, and that is because it got "lost" at a gig.

According to the Vox Showroom web site is it a Vox Symphonic Bass and was made some time between 1962 and 1967. Apart from the knobs and missing headstock logos it looks like it's in orginal condition.

They must have made some since, as I can remember seeing a band in Sheffield in either '82 or '83 whose bassist had a single neck Shergold 8-string

Personally I won't buy anything that requires an iLok account, as I've seen far too many horror stories about what happens when it goes wrong, with people being looked out of their account and unable to use any iLok software for days and sometimes weeks at a time. Anything I have needs to be available all the time whether I have a working internet connection or not (one of the rehearsal spaces I use has no internet and no usable phone signal so you can even tether a phone to the computer to get authorisations), and some venues are almost as bad. This is one reason why I have abandoned my exploration of PreSonus Studio One as a possible solution to my bands' live requirements.

And both songs in the OP owe not a little bit to "Hellraiser" by The Sweet.

IME unless your singer is also the main songwriter for the band they matter less than they (or the rest of the band) would like to think, and especially for a covers band. In one of the covers bands I have been in they had at various times 2 different male and 2 different female singers, no-one in the audience ever seemed to mind who was actually fronting the band. The only time it has caused a problem is when I foolishly said I would come back on bass for one gig so long as they did a set full of songs that I already knew. When said set actually materialised it for male singer who had been in the band when I first joined and not the female singer from when I last played with them (who was taking a break from the band and the male singer had stepped in, like me, to help out for one gig), and while I had played all the songs in the set before, there were a good number that I had only played a couple of times and not for about 4 years!

My mistake - Fast Cars reuses the Boredom riff.

What’s the power requirements of the pedal? Can’t you just make a custom lead from you main PSU?

Or with a Neutrik PowerCon in-line connector which has the added advantage of being locking.

The Japanese insist on printed lyrics with all releases. I think every Japanese CD I have has the lyrics either printed in the booklet or on an insert sheet. It’s worth trying to track down Japanese releases of The Cocteau Twins albums if you really want some entertaining reading.

The classic example is of course “Shot By Both Sides” by Magazine and “Fast Cars” by The Buzzcocks. Less well known, but apparently using the same backing track is “Ca Plane Pour Moi” by Plastic Bertrand and “Jet Boy, Jet Girl” by Elton Motello.

You shouldn't need to hope anything. The person responsible for doing this should be getting on and fixing it so that you would never know it happened in the first place. Maybe then they will take proper precautions when when soldering on other customer's basses in the future.