PinkMohawk

100% agreement. Just ran sound for a stage at this years Oxjam in Beeston. The only problem I ran into all day? Active DI's not giving me any signal. Phantom power on, should have been getting me plenty of output but I wasn't getting diddly except noise, and these were decent DI boxes too. What saved the set? The pair of cheap, nasty Behringer DI400P's. You know the ones, the basic black metal boxes that everyone turns their nose up at. Worked perfectly as soon as we swapped them in. Chucked the other DI's back in the gear box and ran with the Behringer's for the rest of the day with 0 issues. Packing out my new Peli soon, ordered 3 of the Behringer's as my emergency DI's. At the end of the day, I want as little to worry about as possible. Plug and play is the name of the game, I don't want to have to muck about wondering why I'm not getting signal, I just want it to work, and passive DI's just work.

https://www.instagram.com/reel/DNq5MGoyzbe Not sure if anyone is paying much attention to this, but I noticed that these have gone up for pre-order on Long & McQuade, a Canadian retailer I believe, with an 'in stock' date of 30th November. Whether that'll carry over to the UK, I'm not sure. Managed to find an Instagram video of a guy who's got hold of one, no clue what his setup is apart from it being an MM style bass, but it's definitely an aggressively muted sound he's getting from it.

Great tone, great playing, I do find it hilarious that he's playing a Sire bass, but he's still using a Fender branded strap.

Mainly, it's that we disagree that sound engineers should be dictating what's on stage and in use. When I was touring, I rolled with 2 8x10's and that was that, I was happy to work with engineers but they didn't get to dictate terms to me. As an engineer now, I don't tell bands what they can and can't use on stage, I'm there to figure it out and make it work. Will I ask them to turn down? Sometimes, if I have to, but in a small venue, I'm just as likely to let them turn it up and just not have them in the PA.

Yeah, feels very high-handed. I don't like to put my own character onto a bands sound unless that's something that they want me to do. I find it's better to just amplify what the band gives me and fix obvious issues.

Have a look at Pedalnetics, they make the dual footswitch that mounts on the Stomp, but they also do a lot of other stuff, they might have something appropriate for you?

Can any users confirm the actual power requirements? Listed is 2A, but then the HX Stomp lists 2/3A, can't remember which. Considering a board rearrange to move from a Stomp XL to an Anagram, but I'd like to know how much more of the board will need to be rearranged to accommodate it.

The little black buttons that surround the switch. I really don't like it as an interface, but I also have size 13 feet and only wear Doc Martens, so, I may be a little biased there.

For just the basics I'd do a cheap Zoom multi, I have the B1 Four X on a little board with a Joyo Sansamp clone, that covers me for quick and dirty covers and rock stuff. My main board has a Stomp XL, which in future I'm planning to swap to an Anagram when I've got the money. As for how you manage big, complex boards live, it's usually a MIDI controller. More and more pedals have some form of MIDI control nowadays, which allows a user to program a foot controller to switch pedals on and off, change presets, etc. all with one footswitch. Prior to my current board, I was running a Source Audio Aftershock and a Line 6 M5 as well, along with some other non-MIDI pedals (Pitchfork and a couple of others). I used a loop switcher that was MIDI enabled to control it all, switching sounds with a single press of a switch when I needed to. Great live, but the caveat is that you need to spend quite a bit of time setting up your sounds beforehand.

The low end stuff, sure, it's all basically equivalent at that kind of price range.

Hey guys, I was wondering if anyone knows how I'd go about modding a DD-3 to take an expression pedal to control the delay time? Looking at the schematic, I think I've got a loose idea how to do it, but if anyone has any actual experience, that'd be preferable to me taking a blind stab at it and screwing the pedal up.

Every time I've messed with the mod shop configurator, I just find out how ridiculously limited it is. I get that it's just them bolting together whatever spare parts they've got kicking around the warehouse and probably charging you extra for the privilege, but the least they could do would be to add a few special options, no?

Ohh those lipsticks look sharp, I like that a lot. Personally, I'd be looking at a two piece bridge, LP shapes with typical bass bridges always look off to me. I recently picked up an LTD bass that uses a two piece design, just feels right on this shape.

Yeah, think the only tool I've ever trusted that came with a bass was the metal stick you sometimes get when you've got a truss rod with a wheel adjustment. Anything else, I use known, high quality tools from my days on job sites. Wera makes up most of my travelling tool kit, though Music Nomad make a tidy little kit, though it's a little pricier than most might be willing to spend for a small kit. Handy in a pinch though.

Something like that Behringer is probably the best move. Regular mixers tend to only have a single headphone output, intended for whoever's operating the board to be able to solo channels. One caveat to keep in mind though, it looks to me like you can only have one pair of headphones listening to one of the inputs at a time. In your case, this is fine, since your wife would come in on the L of Input A, and you'd be on the R on Input A, so you can both hear each other no problem. If you have any thoughts of inviting other people over and using this though, or even playing along to backing tracks, you'll be out of luck. You could very easily pick up a cheap little analogue mixer though, take the two outputs into the headphone amps inputs and then you'd be able to add more people/tracks easily.