Jack

Are most 1/4" line inputs on desks balanced though?

No it's off all the time apart from one specific place in which it's on. The tiny bit that is 'on' doesn't allow for any volume adjustment. Sorry for the horrible, horrible video but, despite me having an above-average number of hands, I still don't have enough to play, adjust and film at the same time.

I just think that you either don't make any effort to align them all for your press photos, or you align them all for your press photos. Having them all aligned, on every bass on the page, apart from one just looks weird.

It does, and that's how I've got it set now, but I'm worried that a bump or knock might cut it out again, and of course I don't have any gain adjustment.

The one misaligned tuning peg in the photo...

I've just got a new to me (but used) Spector with the tone pump. When I opened it up to adjust the trim pot it just span freely and popped/disconnected the output. Now, I assume this is broken but is it common? Easy to fix? Anyone have any information please?

That's pretty much how I use mine. In my indie rock band I have it set for a grindy svt with a Klon in front and a compressor after. Works lovely.

For me it means I don't have to carry a separate monitor wedge.

Yes but then so was the phrase "we're going to start doing gigs now" which makes me wonder if the amp was just for recording or rehearsing.

What's a gig for you looking like? 12 people in a pub or 300 in a proper music venue? Do you consistently have access to a full PA setup? They're all good amps to be sure, but trying to recommend you an amp is like trying to recommend you a car or a computer, what matters is what you'll be doing with it.

Didn't post my gig from a few weeks ago for a couple of reasons. Number one was that I'm convinced the venue (which shall remain nameless) has something weird going on. Now, I'm not saying that it's a money laundering front. Just to clarify, I do not suspect at all that it's a front for laundering money. However, about 5 years ago somebody bought one of the best loved live music pubs in a particular town, changed all the staff pretty much over night to a load of people who still, after 5 years, have NO IDEA how to run a bar or speak English, and who spend all the time on their phones. There is no promotion of bands, no trying of any kind to get people in at all. Some nights, not every night, a group of men will walk straight in, go behind the bar and go upstairs. They will not come back down. About 4 people to show up to any gig. After the gig a burly man with a thick accent will tell you that you're brilliant, hand you £350 cash and book in you in for several more times. Secondly, I had to run home, catch about 2 hours sleep, and then be up at 4am for the North East Skinny Dip on the Sunday morning. I normally don't gig the night before, but there are only 5 gigs left with this band, so I didn't ask for the dep. Wish I had. The water is so much colder when you're sleep deprived.

Like many people on here I picked up a Pro Go X in the £50 sale a few years ago. Actually I got 3! They are fine for £50 but I wouldn't buy another at full price. When these eventually wear out I'm just going to replace them all with the only other gig bag I own, a Mono.

I am much more a linux and computing nerd than I am bass nerd and I've always used and recommended the Mikrotik stuff for people who are looking for a router for their digital desks. However, when I needed an upgrade a few months ago I did at least consider the GliNet stuff as I thought it looked interesting. They've just got a pretty positive (sponsored) review on LTT. Certainly good to have more options for anyone who needs a router. https://www.amazon.co.uk/s?k=glinet+travel+router&crid=383TNCA6M0WW1&sprefix=glinet%2Caps%2C83&ref=nb_sb_ss_ts-doa-p_3_6

The Stage one is the last proper amp I owned and I can tell you it's a wonderful thing, they're the same as each other apart from the preamp. I was a little worried about a mass-brand combo after some of the esoteric things I've had in the past and but I only bought it for emergency 'you can't play ampless' gigs so I figured it would about do. Honestly it was a peach and I could play every gig I've ever played with it, by the time that starts running out of steam you're well in to 'full pa for the whole band' gigs.

Pleased you're happy with them! Oh wait no sorry I misunderstood.

Ironic that they have become the quintessential stage microphone and often overshadowed in the studio.

There's the Triton Audio ones, but like the SE mentioned above they are cylinders. I have one of these that I put into a 1590a but you could go much smaller if you wanted.

I swapped the Kemper for the full fat rack Helix then bought the Stomp as a backup/small rig, then sold the rack as I was just never using it. Don't be fooled by thinking you have to use all of the features on a given anything. If the Kemper sounds good to you, and it's within your weight/size/price budget then just go for it. Frank Turner uses a Kemper for about 3 songs when he plays electric. It models a Fender combo with no effects, it's just smaller, quieter, easier to manage and more consistent than an actual Fender combo. When I had the rack Helix I only really used one patch per gig as there were enough slots to turn everything on and off like a normal effects board. Now that I have the Stomp I use two or sometimes even three patches. That's maybe 0.5% of its capabilities but it's still better than anything else for my needs and wants.

I have two Prodipe TT1 Pros for my vocals. When I first got into needing a vocal mic it was an experiment as Iwas just starting to learning to sing and the real point of me getting a mic was that the singer at the time didn't have the best between-song craic. I did a lot of searching for things like 'best budget vocal mic' and settled on the Prodipe on the basis that, if I kept it up, I would buy a better mic. Well that was about 7 or 8 years ago and I haven't wanted anything new yet. Awesome mics. I also own an SE Electronics X1S (large diaphragm condenser that mostly gets used for work stuff) a Purple Electrics PE74 (small condenser) and a two t.bone BD200 (when I very occasionally run sound). Nothing fancy, but all solid budget options I could recommend.

I had an (unpowered) Kemper for about a year when they first came out. It was super realistic with the amps it recreated, including some of my own that I profiled myself, I was a big GK fanboy at the time. However, ultimately I realised that I'm not bothered by having spot on recreations of amps and I found the effects a bit lacking so I swapped for the Helix and ultimately the Stomp. The Kemper was great but ultimately not what I was looking for. I believe the power amp on the Kemper only goes to 8ohms, so be careful with bass cabs, many of which are 4ohms.

I don't think basschat is representative. Of trends? Maybe. Numbers? Definitely not.

Don't read too much into the fact that it works at home. If something is loose or intermittent then it might just have been taken out of the bag in a good mood and, seeing as you're at home, it's not being knocked around any more.