radiophonic

Thanks for all the input. I've used T-Cut on bicycle paint (much less tough than car paint) but I was a bit worried about the abrasion issue on a guitar. Obviously, I don't want to risk wrecking (sorry: relicing) the finish. I could always do a trial patch, under the scratchplate but even then I'd be a bit wary.

Understood. Nobody has this pedal in the UK yet do they? Anderton's are saying sometime this month too. Odd that George Tripps made no mention of it during his 1 hr Anderton's video this week either! I know it's only a lowly bass pedal, but if I had a new product, I'd at least mention it. I wasn't originally interested, but I may have a use for fuzz and swapping out a Pork Loin for a P&P would mean I had one with zero additional footprint. I suspect that something gated would be more up my street though.

Probably should have mentioned this is a trans finish, so I imagine the poly coat is clear over a stain.

My 92 Stingray is pretty clean, but there a couple of areas of the finish that have worn dull - where my right arms falls and the top horn (for some reason). Is it possible to get the shine back without damaging the lacquer? I assume it's a poly finish, but I have no idea how thick it is. Presumably some sort of buffing would do it? Any ideas?

So GG have taken your money, not delivered the goods because they don't have them and won't refund cash? I call it bogus. They pulled a different stunt on me a couple of years ago (charged my credit card an extra 50 quid for a bass to replace one I'd bought that had undeclared damage to the neck). I won't buy from them.

'Original' is stone classic. I saw them on that tour. I was almost incapable of walking the next day. It was quite a night! Leftism and Underworld/Dubnobasswithmyheadman were my soundtrack that whole year.

I use them both in the delay loop - I've been stacking intervals using a volume pedal into a short modulated delay into a long clean delay. The effect is something like Twin Peaks or Wolfgang Voigt. I cab then play melodies over the top. The second looper gives me the option of spreading the workload so I can erase in a different order to which I added - allowing a chord change to develop - or copy from one loop to another along with a looped rhythm (almost impossible with a single looper if you are using a volume pedal). The PS6 gives me the option of stacking over several octaves too. I'm still getting the hang of it, but t sounds pretty huge. The advantage of having them inside the loop is that I can kill the whole thing with one tap.

Comp > Harmonist > Bitcrusher > OD > Chorus > LS 2 Delays + Loopers in Loop 1, Phase 90 in loop 2. Stereo volume pedal controls input to delay loop and expression control for either El Cap or PS 6. Mono volume pedal is expression control for the filter on the Scrutator.

...and now I have a Malekko Scrutator. Definitely not a one trick pony! The ability to map the expression pedal to the filter, bit rate and Q, in any combination is a real game changer in a compact pedal. The initial temptation is to really slam the parameters and do massive filter sweeps with the expression pedal, but that will wear off I'm sure. Theres definitely Wah/Envelope tones in here. I can't fit my Rat on the board anymore though.

Janek's style isn't well represented there. He's a Jazz musician first and foremost (as are JoJo and John Davis). Nerve is just one outlet they've both been involved in. He uses the Frantabit with a TC Nova Repeater and the octave up on Boss PS5 to create something called 'the baby elephant sound' there's a how-to on youtube. It's one of his signature solo sounds. He's big into looping too in his solo sets. There's quite a lot of footage on the net due to him doing a Vlog a day for about a year. John Davis is known as a double bass player in addition to his production work.

Fingers and thumb, but not a slappity way. I've never got on with picks for some reason - they make my thumb joint feel weird. It's not down to snobbery, I just can't get them to work for me. I've developed a sort of thumb and 2 finger-picked guitar style for playing chords, in addition to the ole floating thumb / 2 finger method, plus getting noisy with chords by striking using the nails on three fingers. Whatever I'm doing, it works for me doing the music I do.

Here's a good one. Might not be your style. I think it rules. I have a Malekko Scrutator in the post...

Everyone on that list is British and London based, like Marshall. Marshall just built big loud amps in the UK at a time when you needed big loud amps for even a fairly small gig! I'm guessing there were just a lot of them around and they were probably a lot cheaper than imports like Ampeg. Plus Entwhistle used Trace Elliot for absolutely ages of course...

Haha - I hope not. My wife is working from home today and I was hoping to sneak this one past her!

Cool. Sounds promising. It was definitely a case of 'buy now' or wait for another production run, but it's good to know they are usually quick too.

A simple question - If I split the output of a high impedance volume pedal, such that the pair of I/O mono jacks run to two TRS jacks for expression control - i.e. both tips wired to one mono plug and both rings wired to the other, will that halve the impedance seen by the pedal(s) I'm trying to control? I'd like to be able to control multiple expression parameters without having dedicated pedals for each and I'd like to avoid having to shell out for yet another expression pedal.

I've just ordered a pedal from Thomann and I was wondering how long they take to deliver to the UK. I've never used them before but I know they are a popular supplier and I had literally no choice (the pedal was on back order even from the manufacturer but Thomann had a single one left in stock). As fate would have it, a band I'm interested in have contacted me about needing a new bass player and I'm hoping to be able to have my new board ready by the weekend...

Braver folk than me prepared to reveal the underside of their boards!

Particularly since Squier and Baja really sell! Let' face it, the broke-but-gigging muso market has to be way bigger than the Tone Attorney niche.

I read the interview with Henry J and the idea that guitar stores are suddenly going to appear in major shopping districts is pure lunacy. The only way they can compete with the range offered online is have a big footprint and that means locating in lower rent areas. whether the big-footprint model is a good idea is another question, but it's big manufacturers like Gibson who insist on minimum stock levels that require the capacity and define the overhead margins. The interview/discussion with Rick Beato (above) sums it up pretty well: too pricey, too variable, too many models, too many gimmicks. There is a reason PRS are successful and most of what is suggested as a remedy for Gibson seems to be things PRS do by default. Edit - and more to the point: No T-Bird, No Ripper, No Grabber? Not a fan personally, but these models have a following and presumably would sell.

Felt / The Splendour of Fear. Newly reissued and beautifully pressed. They should have been huge.

PiL's 'Album' was a bit of a shocker when it was released. Rotten fronting a band comprising various permutations of Steve Vai, Bill Laswell, Jonas Hellborg, Tony Williams and Ginger Baker. Tremendous in every respect of course, but unexpected.

I didn't think the Scott Walker / Sunn O))) one was weird at all. Good album. Metallica and Lou Reed on the other hand...

As has been said, the two major issues are impedance with Germanium transistor fuzzes and output level causing input clipping. Personally I've also found that the more extreme EQ curve that an active bass can output can play a bit nasty with some distortions too and that a scooped sound combined with a distortion - esp with a clean blend - can introduce the 'parallel sounds' artefact where the low end is perceived as clean and all the distortion sounds like it on the top end. I didn't have much joy with a stingray and a Bass Big Muff but as always YMMV. The really important thing though is not to make a decision until you've heard what it sounds like in the band situation you are in. What can can great played solo can be a mush once the drums kick off.

Please - tell us all about the Westwood! It's still on my to-do list, but I'm saving for a Scrutator and actually needed a second Ditto... when will this stop?