dannybuoy

What kind of sound do you go for? I wouldn't necessarily recommend the same unit for playing blues with a P and flats as I would for playing metal with a Jazz and rounds (although the VT is an exception that suits either!).

Looks like nobody has it in stock over here, but Thomann do if anybody’s looking to get one.

What does AO stand for? Sounds like you are getting confused with the Alpha Omega!

No, that's what I assumed when vouchers were mentioned, but it appears it's more along the line of "Merry Christmas, have some Guitar Guitar vouchers" as sold here! https://www.guitarguitar.co.uk/giftcards/

I didn't know they did vouchers, I just assumed you either returned something and they gave you store credit in return, or even worse, cancelled a pre-order! I hate vouchers. Give me pound notes instead!

WTF?! Someone flush a baby down the toilet?

Hard knee or soft knee?

Think of 'send' and 'return' as 'preamp output' and 'power amp input'. They are labelled that way in fact on the Darkglass head! So you can use send as a DI out (as I have done into my PJB Bighead which doesn't have an XLR input) and the return socket to bypass the amp's preamp. If your amp is pretty flat / clean / hifi then I say it's probably best to go in the front end so that you can adjust stage EQ without messing with the signal going to FOH.

Definitely an option, see the various FRFR (full range, flat response) threads on here at the moment and you'll see it's all the rage right now. The major boon is being able to get the exact same sound on stage, to the PA, or to in-ear monitors.

Why? Did you place the order for the Pork 'n' Pickle cash and they'll only offer credit if you cancel the (delayed) order? In any case I'd make a fuss about getting a proper refund so you can shop where you like!

What are those 4 pedals? It might only be one of them that doesn't like sharing power. If they're all analog, perhaps one of them has a built in 9v-18v doubler inside causing all the noise. E.g. the RMI Basswitch pedals suffer from this.

@Bluewine , look at it like this: I would have no problem turning up to a local venue that had PA, lights and often backline provided to play a 30 minute set of our own songs for free, have a couple of beers and listen to some other bands. We get to have a good night out with friends, network with other bands in the same genre and get pictures and reviews posted to online blogs which could lead to bigger paid gigs at festivals or support slots. I would not drag a full lighting rig and PA to a far away venue, play a 4 hour gig and still be packing up at 2am even if you paid me. My day job pays me more than enough to live comfortably, so I don't need the extra money nor want all the ballache required to earn it.

Here we go again... It's a whole different ball game if you're a recognised band, with albums and enough fans too fill a venue. Of course they wouldn't, and shouldn't, play for free. If you don't have a big following or a lot of material, you tend to play multi band nights where there are 4 or 5 bands on doing 30 to 45 minute sets. Each band might only bring a handful of people along with them. Default is usually to not get paid, promoter might throw them a bone if they've travelled a long way, and give them a cut of the entry fees if they happened to bring a bus load of fans down. Bands are usually happy with this arrangement as it's the only way they can get a gig.

Same goes for most venues doing multi band nights in London (it's been ten years or so but I can't imagine things have improved much), unless the band brings in a huge number of people and the venue has a policy to give a cut of the money taken on the door (e.g. £1 for every person that came to see your band, not counting the first ten). But then most bands that just bring their partners and a friend or two would be lucky to get enough to buy a pint!

Looks like a generic part, same as this one (except this one has the advantage of being in stock): https://www.amazon.co.uk/gp/aw/d/B019E6VJ0A/

Sure it's overkill if you only play at home, but if said 800 watt amp is still cool to the touch at bedroom levels, then there's no reason why the cooling system couldn't be designed to be as silent as possible up to a certain temperature threshold, only kicking in the loud fan when it's really needed. I need to store my amp and cab in my room regardless, so I use it for low volume practice instead of having to buy a separate practice amp that takes up more room and doesn't sound as good!

One Control pedals are built by magic elves. I don't know how else to explain how they can cram in so much into a 1590A enclosure and still have room for a 9V battery!

Scroll up!

I'd convinced myself that I preferred a flatter radius after posting my BB1025 so much until I tried a Musician Caprice, loved the neck, and only discovered later that it was a 7.5" radius! I certainly wouldn't go to the hassle of modding a bass for a flatter radius... Interestingly the radius of the BB1025 is 23 5/8", and 10" for the BB1024. That's quite a difference - maybe just get the 5 string!

It's a great design IMHO - close enough to a 70s J plus a Stingray. Not sure how the switching is set up but I'd like to be able to flick between pure jazz pickups or solo MM pickup with a single switch. I'd rather something like this than the typical compromise you get with a MM pickup to close to the bridge so that it sounds like neither Jazz nor Ray!

http://www.atelierz.co.jp/english/product/bass/jhj/index.html

It's a pet hate of mine too. IMHO the fan should only come on when the amp gets warm, and only spin slowly until the amp gets hot. It was bad enough for to me return the TH500 I bought. The Orange Terror Bass had a noisy fan too but I swapped out it for a silent PC fan!

MIJ/MIM Geddy Lee Jazz, also I believe the Ray4, Ray34CA and Ray24CA all have the slim Sterling neck.

That Rascal looks amazing! A work of art... a Rasclart! A guy I know plays one of these: https://www.duesenberg.de/en/bass/triton-bass

I've been through quite a few pedals and software plugins trying to find a tone I like for that Motown feel, and the Aguilar Tonehammer is my favourite - I've just knocked up a quick clip! ('05 USA Precision with very old TI flats, tone about 70%, into Tonehammer DI with AGS on, gain at 9 o'clock, slight bass and low mid boost and treble cut) https://1drv.ms/u/s!ApKsVfvGwYkOiqV6Q61pUu3yvWelVg The One Control Sonic Silver Peg, Catalinbread SFT and VT Bass are also good for this sound, where it's on the edge of cleanliness and a harder pluck makes a rubbery sound with no harsh fizz up top. I didn't get as much joy out of the Creation Audio Grizzly or SolidgoldFX Beta, both of which are often recommended for this kind of tone but didn't quite work out for me. I'd love to try some recordings through a REDDI though! Or one of these: http://acmeaudio.net/product/motown-di/