Owen

I am aware that this does not answer the OP question but it is kind of on topic. I recently realised that my concept of having different pedal boards for different things meant I never actually used any of them because none were wired up and ready to go. So I bought one of these https://www.thomann.de/intl/harley_benton_spaceship_power_60.htm. It is the bomb. No faffing with securing the power to the board (I realise that this is lazy, but....<shrugs>) it has extra USB power outputs and takes a kettle plug.

This sounds fabulous I am glad to read it. A long time ago the keyboard player in the band I was in came to a gig and said "I met a percussionist at a party in the mountains, can he sit in with us?". He got a HARD no. He asked again a couple of times. He got the same response. He eventually just invited the guy along anyway with no notice, there was just a 5th member setting up on stage. He came in with a set of Bongos, went back out and bought in several Congas, went back out and carried in two cases full of shakey goodies. Zero rehearsal and mostly originals. He sat in like he had been working with us for 2 years. The drummer said that every possibility he had heard in his head was happening perfectly to his right. I have gigged on numerous occasions with him on kit since then. We have had one rehearsal in all that time, and that was only cos the harpist for a different band was edgy. The rest have been seat-of-the-pants jobs - purely because it is more fun and more creative just to see what happens. It turns out that he is properly, PROPERLY big time but had chosen to live up the valley from where I live. I did mention to the keyboard player that 1. It would have been good to know who this guy was before we stared at him vacantly and 2. Had I been told of his pedigree, he would have been on stage at the first possible opportunity. I will not burden him with naming him - but John, I feel your joy.

I am glad this has a central sound hole and not f holes, otherwise I would be in trouble.

BUT IT WOULD NOT BE A FENDER IF YOU DID THAT!!!!!!!!!!!!

Ah. The joy of late night "I am safe to make this offer. They will never accept it. Oh, they did".

Bottom line is that the price is good. You will be able to sell on again for the same money. The preamp is only available in a Bongo and is super beefy. How would it compare to an active Jazz? Probably crisper? I hate using words to describe sound to will go no further.

I have a couple of 33" and the B is not naturally as balanced as it is with my 35"ers and certainly not as my 36"er. BUT a 25% boost on the onboard active bass EQ and it is happy days. Also my TC multiband compressor make the magic happen. So the longer scale does (for me) make a difference. But I really like the tension of the 33" and can mitigate the issues using eq and some multiband compression.

I am very happy that you are very happy. However, I am slightly dissappointed that you are not running a vintage Turbosound cab cos they used to be blue.

I did a gig with last night with the compressor in the circuit. I turned it off for the final 2 songs and remembered why I don't like them on DB. The whole instrument felt like it just loosened up and got more responsive. I live and learn. It looks like my Sadowsky floor box is going to be pressed into service as a gain booster for arco.

You can check out, but you can never leave.....

I once had two DBs. One for classical and one for jazz. Like I was some big timer. What a pseud!

Dan had something I did not realise I needed. Now I own it. It was all good.

Take a guess. It is good.

Eh? App? Eh? Where?

I would like to speak up for the Korg G5. Old? Yes. Big? Yes. Really easy to programme and sounding good? Yes. Triggering issues? No. I think it is a bunch of filters messing with your provided note. Available for circa £120. I would have mine on my pedal board if it was a bit smaller. 9 memory slots which is nor humoungous. But actually, enough.

I mesed with a bit of light comprssion yesterday and it seemed to bring things into balance, but the gig will be different. I like to be able to dig in and get more. This is the reason I have a relatively high action. That was no problem when I played regularly. Gigs are slowing down and my practice regime does not exist. We shall see what compression does in the heat of the moment.

Thanks everyone. Plenty of food for thought. And an opportunity to buy new kit! The Realist thing is interesting. NS EUBs have a 2-way switch. One way for pizz and the other for arco. If Spiros give you the pizz sound in your head then never change. But they will never bow "well". I am fully aware that that is a strong statement, but it is how it is. Consistently drawing a good sound with the bow is the single hardest thing to do on a DB. We can (and I do) get away with all sorts of inaccuracies with pizz that the bowed note will just not stand for. The bow does not lie. I am using a Full Circle and that is adjustable for different emphasies, but I will not be doing that as we meander towards the coda.

Hi all, I am in the middle of a series of gigs where I am using a bow as well as pizz. I am very happy with my pizz sound, and with my arco sound when amplified APART from the volume discrepancy. With my rig set to amplify pizz, the arco is not cutting through at all. I am going to mess with some compression to see what happens, but I really like having control over dynamics with my right hand. I could put an extra foot-switchable preamp in there to bump it up a bit for the bow. I was just wondering what other people are doing. TIA

I applaud everyone who can solder and deal with bare wires. That is not me

So if the OP ones and the flax ones are suboptimal, what is good?

David credits us with more guile than we have.