Jus Lukin

You know what? One of my One Spots came in a set with a bloody Line 6 adapter already- what a prat! 😄 It would be nice not to have to faff about with an adapter, but it's nice to know I won't need to buy one, either! EDIT: Although it isn't clear whether the adapters also invert polarity. I'll dig through and see what I've got, but it looks like the advice is to use a One Spot, then polarity inverter, then 2.1mm-2.5mm adapter. Still a pain in the bum, whichever way you try to fix it.

Very true, although the title describes it as an early 60's Fender.

Really good to hear you're on the mend, Blue! It's great to fill your life with as much of what you love as possible, but listen to your body, and mind, for that matter. If you need to take it a little easier for a time, then do. You'll get more of the good stuff in the long run!

Well, that's a first. I have now reported my first dodgy ebay listing. He may be claiming ignorance, and few are likely to be fooled, but to state outright that the item is a Fender is fraudulent. Or 'taking the piss' as I call it.

If the name 'Fender' is of any value to a potential buyer, then that buyer will know that this is not one. If the word 'untouched' is of any value to a potential buyer, then the photos make it clear that the bass has been touched by a lot of things, and probably shouldn't be again until it has had a good going over with a Brillo pad.

Good to know, thank you.

As a box of tricks, it's very handy, very flexible, and sounds great. If you're looking for negatives... I agree with SumOne- the synths and filters aren't so hot, and neither are the octaves, really. The outputs are balanced and can be set to instrument or line level, but there is no XLR output, which isn't ideal for most sound guys. It's a unit set up to be DI'd but without a standard DI connection. The footswitches are limited in number, especially if you want to use the tuner. I have an extension for two extra switches, but it feels a bit faffy. All those lights, screens, and processing power, yet the compressors are all set by ear- there is no gain reduction metering, or even an indicator to signify the signal crossing the threshold. I believe this feature is available on other versions of the Helix, so might make it onto future updates, but it is missing on the HX Stomp. The power supply inspires very little confidence. It's clunky, awkward, and cheap feeling, and has a non-standard barrel connector (as far as pedals are concerned) so can't be replaced or upgraded with something sturdier, longer, and easily available like a One Spot. I'm a jobbing player, so I'm waiting for that flimsy wire to start to go, then have to hunt for an acceptable replacement. The master volume on mine feels a bit fragile- in fact despite the pedal's cost and chunky looks, it genuinely feels a little cheap. As everyone says. It's great, but it's far from perfect.

They''ll come part and parcel with the songs. If you sell the songs including the audio clips, those clips have been copied and used for commercial purposes. The owners of that material have a right to some percentage of money made using their property just as much as you, as an artist, have the right to a percentage of money made using sounds you have made or recorded. In the big scheme of things you may get away with it, but if you were to sell a million copies of something containing someone else's material, you can bet your arse that if the clips are recognised you will be getting stern letters from lawyers. You may be able to sneak other people's work into yours without repercussion, but morally and legally, it's wrong. Copyright owners are likely to be much more accommodating if you approach them before the fact. Locate and ask the owners, and you may find that they ask for very little, or are willing to allow use free of charge. Nick their stuff and get caught? You could be paying damages and their court fees. As an artist yourself, treat other people's material with the same respect you'd like them to treat yours.

I dunno, a noise cancelling duvet could be pretty useful after a big dinner!

Agreed. There is a strange notion that one way is how proper bass players play, and one is somehow sub-standard. Of course they're both just ways to make a string vibrate which provide different timbres and characteristics to the note. Depending on the sound and feel I'm after, some shows are all plectrum, some all fingers, and for local covers gigs I'll always have a plec in my back pocket to grab when it will suit.

I think I read somewhere they have the same circuit boards as the Boss versions! I'd need to do some googling to provide a reference for that, but I think they are identical. I also have the bass limiter and 7-band bass EQ, which are very good. I feel slightly guilty having cheap copies, but it's all perfectly legal, and I am an impoverished muso!

I'm missing the context of course- the details of the situation would be more important than that line. However, working with someone who can't or won't take in information as stated can be a nightmare, and cause a lot of extra work. I play regularly with someone who often misses or misinterprets communication, or reads between the lines to come up with utter nonsense at times. If could guarantee that everyone would respond to the words which are there, and not ones which only exist in their heads, I would. I've wasted the last two evenings and broken my sober streak in frustration over things which were complete non-issues. If they want to keep that crap out of their business dealings, I feel them.

My nana lived in a council house, I've soggy underwear, and grew up in a fishing town- so I think I'm LAMS, too.

It's kind of like Sweaty Kermit...

As much as I'd like to oblige, I shouldn't wish to tarnish my impeccable reputation. It will all come out eventually under the Freedom Of Information Act, but thankfully the Official Secrets Act will keep that time at bay until I'm six feet under- or put me there before the fallout occurs.

It may be the worst to have been used so far, but I can assure that I could come up with colour names so horrific as to get me banned from this forum for life. The regurgitated contents of slapstick entertainer's stomachs is but the tip of the nastyberg.

Jazz music isn't that popular around here, but jazz conversation is de rigeur!

Not the tidiest, and I still need to trim the cable ties, but my 'boring' board is now complete and fully functional. I think I detailed it earlier, but it runs: Korg Pitchblack- Mute and tune Vong Filterung- High and low pass filter (plus other features which are largely unused). Artec SE-NGT- Noise gate Keely Compressor Pro- A very well featured VCA comp. Sine Effect MegaPara- 3-band parametric EQ with selectable high and low bell/shelf. Catalinbread SFT- A very 'valvey' overdrive. Vein-Tap Noose- a looper for adding in some noticeable effects! Bright pink distortion added as a serving suggestion. EBS ValveDrive- A valve preamp/DI with passive tone stack. Misgivings? The gate doesn't have any special tricks- it's on or off, so can cut notes or chatter if set wrong. It's only really for single coil hum though, and setting it right should negate those things, like most other gates! The ValveDrive is very high gain for a Fender style pre. Even with the 10db pad the dirt starts near the bottom of the dial, but the website does state that the Ecc83 can be replaced with an Ecc81 for less gain, which I will do at some point. A clean sound is easily possible, but I'd like to be less careful with the dials to get it! Also, bypassing the preamp mutes the XLR, so a completely clean DI is not possible without an extra DI box after the board. The flat tone stack sounds great and a passive DI is no hassle- in fact usually provided anyway- but I do like the idea of having all the basics available on the one board.

It's a strange call when so many cheap pedals are direct 'clones' of more expensive ones. Most of my favourites are Boss knock-offs, so may not really count. With that in mind... The two Harley Bentons are essentially a Boss ODB-3 and CS-3. I think the ODB-3 is a great bass distortion rather than overdrive really. The CS-3 is a very heavy squisher, but the attack control keeps things lively. It's extreme but can get some great tight, fast sounds with loads of plectrum attack. A full featured comp could do that too, but there's something about having that response right there in a box. It makes me happy. The Behringers are a Boss HM-2 and MT-2. Not the finest bass dirt to be had, but both can create some powerful, characterful filth. I also love that they look a bit cheap and bright. Mainstream 'Metal' (odd how it dropped the 'heavy' as it got heavier) these days has developed a much darker, cooler, and more polished image, which is no bad thing, but I love how these two recapture the essence of early heavy metal- low budget, gawdy, obnoxious, and bright f***ing pink. Take that, Mum and Dad. Last, and potentially least in the excitement stakes, is an Xvive Mini DI Box, put out under various brands, but seemingly an original design. It has the usual handy DI features, but also a very good cab sim. It's a nice simple way to have a 'PA ready' signal at, say, a DI-only rock gig.

Well, I don't want to rub it in, but I've been a lucky bastard this year. I have two NYE gigs with two bands, one after the other in the same venue. Organising multiple very busy diaries can be a nightmare at times, so when it works out nicely it's good to appreciate the times it just falls into place!

Brilliant!

Oh no it isn't!

Clearly still too early for panto jokes to land properly, though! 😄

Oh no it isn't!

I have a couple of old mouse mats which I have cut up to use under pickups. The neoprene (or similar, if it's something else) is fairly firm, so gives a really sturdy position.