MartinB

Yes. But... if you're using a daisy chain pedal with three male plugs, why not just have one plug into each of your three pedals, and not use the "output" on the Polytune at all? I don't know that there's any advantage to passing power through the Polytune unless you've only got one other pedal, which would allow you to use a single male-to-male cable.

I've now switched to Max Grip 0.88s, as I'm tuning down to D standard and the strings are a lot floppier. Still sharpening the ends though! To me, a nylon 0.88 feels about as flexible as a tortex 0.73 (yellow)

Bass Direct have it listed as a special offer at £249 (regular price £299)

With that many outputs on the power supply, I'm guessing you won't be daisy chaining anything. But in case anyone else is reading this thread for ideas - if you've got a daisy chain with more plugs than you've got pedals, avoid mishaps by finding something to cover the spares plugs. More info here:

Looks great! The ability to pre-set the contour on each channel independently seems useful, along with the adjustable HPF. It's nice to see top jacks, but it's odd that the input is at the top-left when you're facing it - that's not where you want it if there are other pedals in front.

I've always wondered whether the bridge cover could be attached with magnets instead of screws, which would enable you to pop it off easily - along with the mute, which could be stuck to it.

Well that's a cool idea! Approx £55 with shipping, but I couldn't see where it's shipped from, so there could be import duties etc.

The tuning's not even consistently wonky. In a lot of of digital copies, you can hear the playback being sped up at around 1:03 - right in the middle of a keyboard part, which then sounds out of tune with itself 🤣

Q: I don't have a fender but should I? A: No Q: I've never tried a P bass but should I? A: Yes

There have been some attempts, but I don't think anyone's willing to lock themselves into a system that might limit their options. And I can't see that there's any incentive for existing pedal manufacturers to adopt someone else's format until there's mass adoption. It'd be nice to think that an alliance of small-to-medium indie pedal builders could all agree that jacks-on-top was the new standard, and then the big boys would recognise the demand and follow suit.

I'd love to be able to play like Nile Rodgers! But if I was that good, would I be interested in "local pub covers band level" groups? Perhaps not 🤷‍♂️

If you find a backing track with no drums that you like, you could use EQ to get rid of most of the bass - it wouldn't be perfect, but it might do in a pinch

In my experience, a B1Xon can also be used as an emergency stand-in for a drummer who doesn't turn up for rehearsals 😆

I like a plectrum that doesn't shift around in my fingers, and I like the pointy tip of a Jazz III. Unfortunately they only make really thick, rigid Max Grip Jazz IIIs, so my compromise is to get standard Max Grip 1.14s, and sandpaper the tips to a point. The final shape is basically like a TIII.

The E looks slightly odd because a small section of the bare string wraps around the post, in addition to the silked part. The A, D, and G look normal. I've never run into any problems.

I couldn't reproduce this - increasing the volume going into the Laney increased the volume coming out. Are you feeding it a particularly hot signal? Is your compressor set to unity gain (i.e. roughly the same volume out when switched on or off)? I couldn't test active vs. passive input as it's all wired up on my board.

Ignoring the marketing bs, "elasticStage" might be worth keeping an eye on for when they launch: https://www.musicradar.com/news/vinyl-lives-and-this-time-its-even-eco-friendly

Another recommendation for the 4-knob Spark Booster here. Clean boost, overdrive, dirty boost, three different EQ profiles, plus high and low controls - and inexpensive too. You're bound to find something that floats your boat.

I also use a camping stool - cheap, lightweight, folds flat. My small cab sits in the canvas bit like a sling. When I use it with my big cab, it rests on top of the metal bars, and the feet on the cab sit just outside them, which keeps it centred. It's obviously quite top-heavy when loaded, and not massively stable along the front-back axis of the seat - I wouldn't use it on unstable ground, or a crowded stage with careless band members. But in the right scenario, it's very handy!

Yep - my One10 dates back to early 2019 and has no signs of peeling

It does exist, along with an "analog" delay*, fuzz, compressor, flanger, and another distortion - just not on Amazon UK. £16 on ebay There also are Horse versions of the various Joyo American/British/... Sound pedals; they're smaller AND have the power socket in a better position 👍 * Which is likely a digital-with-modulated-repeats delay

If you like a 160A, you could do a lot worse than a Keeley Bassist (review) - transparent and easy to dial in And as luck would have it, there's one for sale in the classifieds at the moment (no affiliation)

Yeah, it does say in the description that it was artificially split using software (and the whole channel belongs to a company that provides this service). I'd rather see this made explicit in the video title though, because genuine stems from the original multi-track recording can tell you a lot more than just the notes - e.g. what the tone sounds like out of the mix (often horrible, but it's educational to hear it!)

Here's a quick comparison of the FET channel and the Tube channel with increasing levels of Drive. There's a click each time the settings change: First the FET channel Then the Tube channel @ drive level 0 (min) Tube channel @ drive level 1 ... all the way up to ... Tube channel @ drive level 10 (max) Laney Digbeth DB-PRE tube channel drive.mp3 EQ controls are centred. Squier PJ bass (P 100%, J ~70%, tone 100%); GHS Pressurewound strings.

Hmm... I'm glad you asked, because I think I may have made a mistake 🙈 So the white noise is a 30-second sample generated by Audacity on default settings. I'm using Voxengo SPAN inside Reaper for the frequency analysis. Playing the raw white noise sample inside Reaper shows a nice flat line: And playing back that sample, with an output from the interface looped back into one of the inputs, gives a very slight difference: You can see a bit of roll-off below 50 Hz and above ~10 kHz. The interface is an old Mackie Onyx Blackjack, recording at 24-bit 48kHz. However... this isn't the method I was using to send the white noise to the pre-amp pedal. Instead I was using an Akai MPX8 sample player connected to the Laney, so it seems like maybe it's been limited by the frequency range that can produce, rather than what the interface can record. The "Red: direct signal into audio interface" in the very first graph I posted is actually the MPX8 directly into the interface, which backs up this theory. What I can do is repeat the tests using the loopback from output --> input instead, and then update the OP with new images. It's slightly fiddlier, which is why I used the Akai instead, but it shouldn't take long. UPDATE: I've re-done it properly and updated all the graphs in the original post, so it's much more accurate now 😅