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  1. No, afraid not. Partly because it isn't built yet, and mainly because I'm awful at documenting stuff. I'd be embarrassed about my shonky code too! I have been doing a bit of tinkering, however, and I'm fairly certain I've variously got everything working that I need. It's a case of sticking it all together to see if it works. I should make an effort to document it properly. Broadly speaking I'm thinking along these lines: The requirement is to be able to use a few different programs on the Stomp in a gig situation - basically amp sims, compression, and very occasionally perhaps some chorus. I'm putting the Stomp straight into a power amp, so I'd like to be able to tweak the EQ during a gig to account for venue to venue sound differences. Ideally that would be via MIDI control of the global EQ, but alas that's not currently an option, so it's going to have to be via the amp's EQs. I'm also going to experiment with the Tilt EQ block a bit, to see if that helps with on-the-fly EQ tweaks. I think I can get everything for the "head" end on a 2U rack blanking plate, though I haven't confirmed yet. I'll probably stick in 10 rotary encoders which should give me more than enough for my needs. Nextion display for seeing the settings, and maybe for saving changes. I'll have to store all the parameters I'm changing in non-volatile memory and send them every time I change the program. I've already built a footswitch as a proof of concept to give me prog up and prog down, tuner (so I can get that off the Stomp's third foot switch) and a quick way of switching between 0 gain and +20dB on the output block so that I can get enough signal into the power amp when I'm using it. It's occurred to me that I could also put Tilt or even Bass/Mid/Treble adjustment on the footswitch too, but that might be going too far. I didn't really want a ring of MIDI cables between Stomp, "head", and footswitch so that's why I looked into the MIDI thru idea, and as with everything (thankfully!) I found someone has already done it. I'll dig out the links later and post them in this thread. My main concern at the moment is whether I run the risk of introducing noise with all this hacked together DIY microcontroller based stuff floating around! Edit: Forgot to say, the Teensy 3.3v pins seem fine with the Nextion with the quick tinker I've had. Time is the real killer with all this. Having jumped onto the Nextion learning curve I'm now on a Photoshop learning curve, trying to see whether I can get some reasonable graphics together for visual feedback for volume and tone controls, etc. I'd really like to get a 3D printer too, to make some decent enclosures for some of my projects, but apart from the cost of getting a reasonable one (I haven't got the patience to go the budget put-it-together-first route) but that's another huge learning curve.
  2. Rather than a Nano what about one of the Teensy line - even Teensy LC has twice the memory of the Nano. I’ve built a basic 4 button foot switch using a Teensy LC board which will do MIDI via 5 pin DIN connector and USB MIDI in parallel, so I can use it on either my Stomp or with AmpliTube on my Mac. I’ve now gone a step further and used a Raspberry Pi to give me USB MIDI thru so I can use USB on the Stomp instead. Target is to build a second MIDI controller to give me the amp EQ and volume controls in a controller on top of my amp so I can tweak easily during a gig.
  3. 5 piece pub band playing 60s and 70s soul, r&b and a bit of garage. £200 to £250 per gig in South Wales for the last couple of years.
  4. I use the Dunlop metal ones, having found that the Schaller ones had enough friction between the two parts that the strap button screw started loosening. A word of caution if you use the rubber washers or the rotating plastic thingys - watch out if you have an instrument with a delicate finish. I used these on a Tokai 335 copy, with a leather strap, and it pushed the strap quite hard against the guitar. I now have a load of scratches where the strap has rotated around the button a bit. Fortunately it's the neck strap button which is on the rear of the guitar so it doesn't show, but annoying nonetheless.
  5. A few years ago I built this - effectively a Fender Champ clone but with s solid state rather than valve rectifier: http://www.ampmaker.com/store/WF-55-4w-tweed-style-amp.html. However it seems that AmpMaker aren't currently taking orders (check the site for the reason - I daren't mention the word here!), so I'm not sure whether this will be an option within the next few months. I spent quite a lot of time looking around for a suitable kit and at the time, for UK based suppliers at least, couldn't find very much at all other than AmpMaker. There's quite a lot of stuff available from the US as I recall, and I also looked at a far east company called Ceriatone who had a pretty comprehensive range. From a quick search it does look like there might be more options in the UK now, though. (Edit - just spotted that you're in Germany, so these comments probably aren't relevant!) I found the instructions very comprehensive. I spent a lot of time reading through them before I even bought the kit, and followed them to the letter. I have a healthy appreciation of the dangers of 230v AC, but if you heed the warnings, follow the instructions carefully, and do absolutely all the checks, then you should be able to build safely. I built the amp over a few days in the Christmas holiday period, maybe spending a couple of hours a day on it. The one small thing I did over and above the instructions when I was testing was to use a second multimeter constantly attached to the power supply capacitors so that I could always see whether they held any charge or not. The one I built was a turret board construction, and came with a pre-drilled chassis. To answer the question "will it last", then I'd say absolutely yes, as long as you build it carefully in the first place. A final comment on safety. You absolutely can't take any chances. If you have even the slightest doubt about understanding the schematic (I don't mean how the amp works, but how to wire it up according to the schematic and instructions), or having the relevant practical skills to construct the circuit board, mount it and the other components, wire it all up correctly, and carry out all the tests, then you probably shouldn't embark on the project.
  6. QLC is doing the sequencing - the arduino is just triggering either sequences or scenes via MIDI, and doing tap tempo via MIDI. For someone who hadn't even heard of DMX before I found QLC fairly easy to get to grips with for basic stuff. To be honest I've only used this a couple of times this year. Quite a lot of pubs have their own lights, and it's just another thing to set up and pack away afterwards, plus I'm already doing most of the work with the PA (we're long overdue a chat to address the fact that some of the band are a bit shy when it comes to helping with setting up anything other than their own gear). Having said that, even with four RGB lights I think we can create a much better (and infinitely more subtle) effect than with the standard pub fayre of random over the top patterns changing every second. I saw that they were resistive touch so have an idea what to expect. I'm planning to use rotary encoders for setting values, so it's probably only on/off switches and navigation buttons I'd use touch for. Any suggestions for good resources for getting started with configuring the device?
  7. I’d not come across Nextion before, but I’ve done some reading and ordered a 3.2 inch version to have a play with over Christmas, hopefully. I also have a MIDI controller for the HX Stomp in mind, but for controlling EQ during a gig so that I don’t have to bend down and start messing around with the controls on the stomp itself. It’s a pity the global EQ isn’t controllable via MIDI.
  8. 32?! I have enough trouble with 8... Raspberry Pi running QLC+, Teensy board for the footswitches and code to send MIDI over USB to QLC. Only running 4 RGB lights from it, with a few sets of fades and chases set up in QLC, either free running with tap tempo, or set to change when hitting the tap button. What I really need now is a 3D printer to make some decent cases, but the learning curve has put me off so far.
  9. We're strictly a pub band, running vocals and keys through PA tops at the moment, and I get the impression that's a bit removed from the stuff you do! I'd be keen to add a sub and put everything through PA, and get some or all of us on IEMs, but I'm pretty sure I'll have a job persuading all the band. Drummer is strictly old school and won't entertain an e-kit, plus he's a heavy hitter (let's not go down the "get a new drummer" rabbit hole, though - despite being strangers when we got together a few years ago we're friends now, doing this a couple of times a month for fun, so it's not an option). Not sure what options we'd have for some of us going IEM if we didn't want to mic up the drums. On the one hand I don't know if we'd hear enough of the drums with IEMs in, but on the other I'd be worried about IEMs not attenuating the drums enough to protect our hearing. Due to the small spaces in which we usually set up I'm using ACS moulded plugs with the 27dB filters at the moment - I found things were feeling a bit too loud by the end some gigs with just the 17s.
  10. Question to @funky8884 and @AxelF - are your drummers using e-drums? If not then do you mic up the drums to put them through PA and/or IEMs?
  11. PF500 here, bought new in 2015, run through either a PF115HE or a pair of DIY 12” cabs. It’s done about 50 gigs and numerous practices. No complaints at all.
  12. “Thank you very much, ladies and gentlemen. Now, this next one is called Mustang Sally”
  13. Not last night but Friday, a charity event for Blesma (https://blesma.org/) at the Exchange Hotel in Cardiff Bay. I knew it was an old building (formerly the Coal Exchange) but didn’t really know what to expect. As the nominated band sound man I was hoping for something not too challenging, so preferably nothing cavernous with a hard floor. I think the photo says it all... Sound check was interesting - the room was basically a huge echo chamber, and I found I had to set relative levels quite differently to our usual mix. I made an effort to keep everything as quiet as possible, though with our drummer “quiet” is a relative term! Once we were playing it was obviously impossible to know how it sounded out front, but from where I was standing there were no problems. More importantly we didn’t cause a mass exodus from the room and had quite a few people up and dancing for some songs, so it can’t have been too bad. Most importantly, though, the organiser (who had seen us playing in a pub and asked if we’d do the event) was very happy, and it was great to be able to do something for a good cause.
  14. Ghost last night at the Motorpoint Arena in Cardiff. Not something I ever thought I'd be into, but having been told about them by my sons (both into their metal in a big way) one Sunday afternoon sitting in the garden, beer in hand, I jokingly said that if they played Cardiff I'd buy tickets. The tour was announced the following day...! I have to say I do like the music, and they put on a great show. Really notable for me was the sound, which is usually pretty disappointing in the Motorpoint. There was none of the overpowering kick and sub bass mush that seems to be so prevalent these days, and for the first time in that venue I could actually hear the bass quite clearly. I think the overall volume might have been a bit lower than other bands I've seen there, too. One way or another their sound guys did a great job.
  15. If the Metro 16 is otherwise perfect then you could try replacing the feet, as per Twigman's post here:
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