nilebodgers

If you are a paid sideperson then some kind of expectation of the kind of instrument could be in order. If it’s a band of randoms then absolutely not. However, if the sound isn’t working then changing it in some way would be acceptable - the OP said as much. What that change is and how much it costs is no-one else’s business though.

Yes, I was wondering about a Helix Stomp or similar - that works out cheaper than discrete pedals and would allow switchable patches.

I'm from a no-FX playing background and I'd never taken much notice of pedals. I watched this and was surprised to hear what could be done with an octave pedal, a distortion and an envelope filter. That has certainly given me ideas (and GAS).

Genius - thanks!

Yeah, I’ve seen quite a few people mention doing that. I sell the gear I’m not going to ever use or can’t store/transport, but I keep a gigable rig to hand even though I haven’t played live in years. (Although to caveat that - I only have a single 2x10 cab, there are circumstances where I may add a cab and then move it on if that changes.)

I was trying to transcribe the bass part on a dance track and got into all kinds of trouble. It's a straight 4/4 beat underlying, but the bass is doing something more complex rhythmically. I think it is a polyrhythm where it puts 4 beats in the first 3 of the bar, but I have no idea how to notate it. I have attached a short clip - anyone know how this would be transcribed? Dance Track Segment.mp3

Anyone else seen this yet?

I usually level single frets with a 3-corner crowning file - the Crimson one would be fine ("Traditional Fret Crowning 3-Corner File"), although I made my own. Could be any narrow smooth-cut file that can work on a single fret without touching the ones either side. I'd use neither of those 3" or 6" Crimson files, for a full level I always use a beam (mine are from GMI off ebay) as a fine grit paper can be used (I use 320) so it chews the frets up much less than a file and takes a lot less time to get the scratches out after crowning (especially if you use a diamond crowning file). I've always used a notched straight edge to get the neck straight although I have a conventional straight edge too if the fretboard is very uneven and I can't get it straight enough. I've not needed it yet. However, this is only what I have done that I know works for me - there are lots of ways of achieving good results in fret levelling - I have seen people use files, beams or radius blocks and do a nice job. I like using a beam as it is most forgiving and adaptable to fretboard radius. Ditto the many different ways of crowning - all can work well.

I'm talking to myself LOL. I bought the USA Jazz, only s/h because an opportunity came up to get just what I wanted at a much better price than new. The fact is that it plays and sounds better than my old MIM and I quickly realised that I would not have touched that again and have moved it on already rather than have it sitting around unplayed.

I'd also advise finding one of the forum members nearby to you that will help with doing a basic setup (there is a thread with a list somwewhere). If you are a beginner it's hard to know what is normal/acceptable for playing action and getting that right from the start is going to make things much easier.

I agree with Lozz that the current Mex Fenders are very good. I've now got a 2017 US Jazz and a 2012 Mex P and the P plays just as nicely as the Jazz. However, I had to do a bit of fret work and soften the hard 90deg edge on the P fingerboard where the Jazz was perfect from the off. The Jazz did cost 2.5 times more than the P though, so a bit more work to get it right isn't out of order IMO (both s/h). I previously had a 2008 Mex Jazz and it was definitely a step down both in build quality and playability so Fender have upped their game in recent years with their Mex ranges.

The process of reclaiming the VAT on a return isn't clear either. I couldn't find a sensible explanation on HMRCs website, it was so slanted toward VAT-registered entities, not Joe Punter returning his faulty kit to a non-UK retailer.

I'd try it with a phone charger first. If that works and there is no added noise/interference then you are good to go with minimal outlay.

Steinberg UR22mk2 has an optional 5V supply input using micro usb. It doesn't come with an external psu though so you'd have to source one.

Note that a tuning peg tension tool is worth it's weight in gold. I'd love to have both it and the proper truss rod tool. (I have modified various sockets to fit, but they are still not quite right as they need to be both long and very thin-walled.)

This:

Klotz cable is excellent. The main thing to watch out for is that the NL4 connectors are genuine Neutrik. There are lots of abysmal knockoffs that make poor connections or leave bits of themselves in the mating connector.

I meant either crimp or compression ( I.e. screw terminals with an intermediate load spreader for compression without damaging the strands). The problem with soldered multi strand cable is that solder wicks back up the cable and can cause failure if there are mechanical stresses/flexing. This has long been known in electronic circles. (I also found it in a commentary on the IEE wiring regs: Soldered conductor ends on fine wire and very fine wire conductors are not permitted (Regulation 526.8.3) where relative movement can be expected between soldered and non-soldered parts of the conductor.)

Not in power connectors (e.g. NL4). Crimp and compression joints are more reliable than soldered connections for these applications.

This is pro Production company grade, in the real world it doesn’t get better.

Why not do a powercon? Standard d-style Xlr hole.

1st. It’s what came up for sale at the right time, but I’d have chosen the earlier version anyway to keep the backward compatible neck.

Yes. More sophisticated solutions will give better results, but demand considerably more skill in operation. I have been a pro live sound engineer, but I rarely suggest pa gear on here as I don’t have hands-on experience with the inexpensive kit that would be appropriate for band use.

I use the cycle of 4ths all the time for practicing as it means going round all 12 keys, but it's not just moving up or down a fret so I find it forces my brain to "reset" so I am actually thinking about where I am going and where the notes are rather than just a mechanical pattern movement. iReal has a fantastic training mode where it will repeat a song, but transpose by an adjustable number of semitones on each repeat. This means that you could e.g. create a 4 bars of Cmaj7 "song" set to repeat 12 times then set it to transpose 5 semitones up on each repeat. You end up with 4 bars of Cmaj7 then Fmaj7 then Bbmaj7 then Ebmaj7 etc. all the way round the cycle of 4ths to Gmaj7. I use this to practice scales and arpeggios in all keys as you are continually hearing the chord that you are playing against so it reinforces the context rather than just being abstract.