linear

I concur with the phantom power/red herring analogy, but can I just add; the OP implies the only way they've been able to get their previous dynamic mics working at a usable volume is with phantom power on. If I have understood that correctly, it says to me that, even before the arrival of the new SM58, something else somewhere is not working the way it should. The Roland amp, cables, something isn't right.

I had the Jungle and Equestrian Sports fuzzy felt sets. It made for some interesting combinations.

I suspect you're right about the high fret/s. It's very common on basses at the cheaper end of the scale, in my experience. If you're adjusting the truss rod anyway, maybe set the neck completely flat and test your hypothesis with a straight edge. If you are lucky the fret isn't fully seated and you can tap it down with a fret hammer or similar, although that's never done the trick for me.

The M-Audio keyboard also seems like it will route USB midi from the computer, if it doesn't work out with the Moog for some reason. The mixer seems a bit redundant, but I guess it could be used in lieu of a patch panel so you don't have to keep plugging and unplugging things into the stereo line-in of the recording interface. Or just put to one side until a problem it can solve crops up. Things to get working: Hook the midi-out of the Moog to the midi-in of the sampler or drum machine and play them with the keyboard Find out how to use the midi functionality of your DAW and play the Moog over USB using the virtual keyboard in your DAW Write a little tune in the midi sequencer in your DAW and get the Moog to play it And the ultimate goal: write a little midi sequence in the DAW, and have it passed through the Moog and played on the sampler or sequencer OP - this is going to require some of reading of the midi section in the manuals for your gear, and you'll need to have a basic idea of what midi is, so you understand the midi specific terms.

Would using a dedicated line-in input on the interface maybe avoid a redundant gain stage? Or would that just result in the signal being boosted up to line level at the mixer and then attenuated back down at the interface, before A/D conversion? Rather defeating the object of the exercise.

Close that drawer, please.

Describe in single words, only the good things that come into your mind ...

It means he's not very good at identifying traffic lights and fire hydrants. Possibly a robot.

I don't know for sure, because I don't own one, but I was lead to believe that the Chinese made SUBs also have the updated preamp.

Depends on the style of music. Obviously, the bathroom is good for a wet vocal and backing vox are best recorded in a side room, but many people don't realise that some of the best death metal growling has been recorded in the living room.

OP, did you/luthier try what MoonBassAlpha suggested above? Once you've done that, the next thing, like people have said, to is to unseat the nut and move it ever so slightly towards the bass side. Again, something you can do yourself if you take care.

The control knobs will be volume, treble and bass. 5-way switching, so options are rear humbucker, neck humbucker, both, inner single coils, and outer single coils. You don't tend to get individual volume controls or blends on Stingrays, I believe because the pickups are supposed to be connected directly to the preamp.

I also own one of the original Indonesian made run, the ones with the preamp problem and I can confirm that it has indeed been fixed in the more recent ones. I suspect I got pretty unlucky with mine. A number of the issues point to a rushed manufacturing process, but I imagine it's unusual to have so many present all on a single bass. If you can try before you buy or are happy returning a bass bought over the internet then it's not so much of an issue. If you want a ~£300 Stingray that is active and actually looks like a Stingray then your options new are relatively limited. If you want one with a jazz width neck, I think the SUB may be the only option. To my mind, the best bet for a my first Stingray is to wait for one of the USA made SUBs to turn up in the for sale section here.

If the OP insists on signing into YouTube, I believe they can select Do No Recommend on one of Scott's videos in the Recommended list and never see one of them there again.

I'm assuming you mean the Sterling by Musicman SUB range, rather than the US made SUB. I have one of the current generation SBMM Rays, the Indonesian ones with the updated logo. It has several minor QC issues and one potentially serious issue with the range of truss rod adjustment that turned out to be ok as the neck settled in the right direction. I bought it new, sight unseen, during lockdown, and it was only laziness, lockdown and the fact that I'd managed to get a decent discount that stopped me sending it back. If I'd tested it in a shop there's no way I would have bought it. I'm pretty happy with how it sounds though. Just my experience. If I bought another I'd probably seek out one of the Chinese made ones.

You get a lot of 'ponk' on the polyurethane stringed U-bass, too much really, and it's hard to get rid of. Is this played with a pick though? Initially, I thought yes, but the more I listen the less I'm sure.

I have one of the new SUB Ray4s, and the pickup/preamp combo sounds and behaves differently to a standard Stingray, and I dare say some would prefer it. Mine has a number of QC issues though; nothing super serious, but I wouldn't recommend anyone buy one without seeing it first, or at least being willing to send it back. I'm confident the OP has got a much better made bass. It is true that if you want a Stingray style bass with a 38mm neck the options are pretty limited though, especially at £350.

Ah, thanks. I did wonder, as the manual does mention IR, but is a bit oblique about it.

Doesn't the B3n use impulse responses for the cab sims, and the MS60 does not? I have the B3, which I think uses the same engine as the MS60, and the amp and cab sims leave a lot to be desired, in my opinion.

Simply switching to WASAPI or DirectSound should result in the latency (from the Windows side of things) being less variable, which can only be a good thing. If you do the test linked to by lowdown you will be able to measure the total latency, including that being caused by your wireless system, and then it's simply a case of offsetting every recorded track by that amount after you record it. I'd do the test a few times to check you're getting the same result each time. If not, you'll need to take an average. You'd need a way to connect your wireless transmitter to the output from your PC, so something like this or, more likely a combination of whatever cables, jack coverters and gender changers you have to get the same result. Edit: or just use a regular cable instead of wireless, which I realise now is really the best solution 😂

When you record into a modern DAW using a USB interface, the DAW will automatically compensate for the latency as reported by the USB driver. Audacity may not do this, and it certainly won't compensate for any latency introduced before the signal even gets to the recording interface. I've encountered a situation where the USB driver was reporting the latency incorrectly, so I had to set the delay compensation manually in the DAW. You can measure it by setting up a project with a single track with a bit of audio in it, ideally with a bit of silence before it starts, then connect the audio out to the recording in (in OP's case this would be the wireless transmitter) and record the first track looped back into a second track. The second track will be the same as the first, but delayed. Zoom right in to the wave form and measure the delay using the selection tool; and that's how much you need to compensate any recorded tracks by. This only really works if the latency being introduced is constant, which it pretty much is if you are using an ASIO driver. If you are not using ASIO, but the Windows MME audio stack, the latency can drift up and down depending on what else your PC happens to be up to at the time - which is less than ideal, to put it mildly. Audacity don't distribute a version with ASIO support for licensing reasons, so the best you can do on Windows is make sure you are using WASAPI or DirectSound. Of course, the best thing would be to not use Audacity for recording, but nobody who uses Audacity for recording seems to want to hear that.

This sounds like dangerous thinking. It's important to play open strings every now and again so that the nut doesn't feel left out and the frets get a bit of a rest.

For when you need to nip out of the practice room.

I think I could probably manage the non-xlr version without a wiring diagram That wiring bible is seriously amazing though.