fretmeister

Me too - but with it being EBMM/SBMM you know they'd just massively increase the price instead. The shipping fee for a one off was fine - but when it was obvious that there would be loads in a container at the same time that was taking the piss a bit.

Fender to have 21 or 22 frets on every bass. Having the high E (G string, 21st fret) is very useful. 20 fret or under basses are wrong. I'd love to see a physical version of the Vulf Compressor plugin. I love that thing and I wish I could have it in a pedal.

They did a limited run like that once. Might have even been neck through. It didn't sell enough to keep going with it.

Another vote for the Aguilar ag4p.

Another ex-user here. I've had One10 x2 stack, a Super Twin, then One10T + One10 stack. Enjoyed them all, but I've gone back to my first light weight love: Mark Bass. My first actual love was a pair of Marshall VBC412 cabs with separate big iron Hartke and Ashdown heads. I am never lifting all that again! It might not even suit me these days as my musical tastes have changed a lot. It's been about 18 months since I quit my last band and if I ever look for another I'd be perfectly happy to swap to IEM and no backline, but the last band was big band jazz without any PA support - piano, bass, guitar all had their own amps - so if I did that again I'd still need an amp. The brass and reeds are loud enough without any PA in the venues were were doing.

This sort of thing intrigues me too and I get lost in looking stuff up. Sometimes I just have to punch myself in the groin and repeat "Once the drums start it doesn't matter. Once the drums start, it doesn't matter" over and over again!

The OC-5 is nearly 6 years old now. Digital stuff moves forward rapidly even just in updates of firmware. The Octaves in Helix / Neural etc are far more responsive now, but very DSP intensive. Hopefully we'll get an OC-6 soon. I still love my OC-5. I use it on bass with -1 of course, but on guitar I love the "only affect the lowest note of the chord" thing. That's ace for single guitar band stuff. Just sounds a little thicker when playing chords, and then more like a straight octave for single notes.

I can see the Roto advert on the front page - on the right side above the feed. The image just shows orange but it is the blinking one posted above.

If you bring something in from outside of the UK then you take the item price, then add the shipping. Then add VAT to all of that, and then add the import duty for the thing. Import varies depending on what class of item it is. But guitars are about 3% ish. Then when it lands there is a load of HMRC paperwork to do - however the UK courier will do that for you and charge you between £8 and £15 for that depending on item value. A lot of people complain about the admin fee but TBH it is a godsend. Before the couriers were able to do it for you, you'd get a notification that your item had arrived in the UK and forms would be sent to you to complete. You'd then send them back in the post and then in about 3 weeks they would be looked at. Then they would send you a bill to pay. You'd pay it, and then in another 2 weeks they'd finally release the item to be delivered to you. The item would sit in a customs sealed warehouse for over a month. These days you get an email, pay it over the internet and it only adds a day or 2 to the process. And you never get the forms being returned because you didn't do them properly - the couriers have people churning them out all day. So whatever item you want, assume that to get it into your hands will cost 25% over the item sale price and you won't be far wrong. Unless it's something you can't buy in the UK the savings are often minimal and of course if something goes wrong with it you are at the mercy of the seller country laws and regulations. Many of them don't offer warranties once an item is exported, or you'll have to pay return shipping and never get that back. That being said, I've had a few things from Ishibashi in Japan and they are superb. Amazing service and excellent packing.

+10

Rubin. because the little sod will randomly wander around the studio, occasionally make a bit of noise, and then claim all the credit.

Emojis are engagement though.

I’ve been doing a bit of staining myself. used a Spirit stain and currently doing the Tru-Oil finish. It was a normal unfinished slab body and I did the arm and belly carves. I purposely didn’t use a grain filler after sanding to 320 grit as I wanted a bit of a reclaimed barn wood look. 2 coats of stain, then gently sanded back to smooth / remove nibbling and to reduce the stain thickness on some edges just for some variation. Then Tru-Oil. Currently at 4 coats of tru oil. Tomorrow I’ll be getting the 0000 wire wool out to very gently smooth it and to see if I need any more oil coats. If not then I’ll hang it for 2 weeks to let the oil cure properly and to rock hard, then polish it. Or I’ll do another couple of coats.

I'd buy a Sandberg TT4 above a Fender.

Here you go ian goes through how it works as well as his rig.

That’s not part of a Sandberg relic.

Is it a Washburn?

I'll send you a vid... I reckon my avant garde creations will really work for the Tuesday 3pm slot

I like a compressed direct sound, but most drive pedals were built with a cab in mind and without they sound like shit. So in my helix when I have a no cab tone for clean when I hit a drive pedal it turns on a cab sim as well. And often an EQ adjustment with a view to making it sound like an overdriven version of the original tone.

I'd play it.... because I'm delusional!

I have one and it's huge fun. I do wish the filter control knob at the top was shorter though - feels very exposed there and could be damaged by a stray foot. I wonder why they just didn't use a regular pot like the other controls. Bit of a weird choice that.

Line 6 have excellent customer service. Put in a support ticket and maybe also mention it on the massive Facebook Helix group and they'll get it sorted out fast.

First one in general. The second one might be amazing when sitting but crap when standing and so on. It might be comfy for a fewer amount of people.

They are definitely my favourite bass amp. I moved away from them a few years ago and went through loads of different heads and cabs from a variety of makes at modest and stupid price points but then came back and it felt like home. I've used them in big band jazz and in power trios. 99% of the time I just want a touch of compression, an MB head and cab and I'm happy. I find they take pedals well when I need a bit of grit. MB heads work well with a variety of cabs but I'm not as convinced about MB cabs with other heads. That way round seems to miss something to my ears. All the heads have the MB sound, some with some valve flavouring, and others with a different EQ set up with different number of bands and centre points of the bands. Most of the time I leave them all at noon or reduce the bass a little to stop any booming if the room is a bit crap. I am not that precious about "tone" - as long as I've got a good compressor then I'll plug into pretty much everything, but MB kit makes me smile.

'Arry has his own Seymour model now as the QP wasn't really anything to do with him. That just happened to be spec'd for the first Japanese signature. But this pile of arse should have had at least the sig pickup in it. And the right bridge.