fretmeister

Speaker to ear latency is about 1ms per foot. Sound moves at about 1043 feet per second - depending on atmospherics. So with the Xvive at 6ms if you were right next to the speaker it would be the same as you standing 6ft away from the speaker. If you weren't using a wireless (or indeed any other digital device with ADA converters that add latency) then you don't have to move very far away for physical distance to be far more of an issue than the wireless latency could cause.

Such a simple idea that I'd never have thought of that!

5ms or under is usually fine, but lower is always better. Moving a couple of metres further away from the cab actually has a bigger effect on the time between playing and the sound reaching the ears than that. My L6 is 1.5ms and my Smoothhound is 5ms. I can't tell the difference when I'm moving about.

The L6 G70 was very good as a consumer item. There were complaints of dropouts but that seemed to be from people too lazy to read the instructions. It specifically recommended that every time it was turned on it should be put in scanning mode so it could find the best frequencies. Even if soundcheck was ok, it should be redone at the beginning of the gig when 200 people with mobile phones come into the room. Then it was excellent. I liked the adjustable cable length simulation and boost options it had too. These days though... it's perfect for not having cables draped all over the lounge upsetting the wife!

Nope! I use the pickup tops as a finger ramp. With a ruptured and repaired tendon in my right hand I need a ramp. So lowering them is not an option, alas. That's a good idea, I'll try that. I have some of that somewhere. Cheers!

Make sure you tell all the Cash Converter type places - once they have knowledge of it (Photos / serial numbers etc) if they accept it knowing it is stolen property it's far easier to do something with them. Easy to say after the event - but get some insurance. It's not expensive. I pay about £130 a year for a stupid amount of gear including theft from cars and venues etc.

I use the pickup tops as a ramp so mine are always as close as I can get away with. I'm definitely making the P -v- J volume output problem worse! but I find it a lot easier to play that way with a damaged finger. If I play someone else's bass with lower pickup heights I have to swap to playing only with a pick. I just can't do fingers without a ramp anymore. At least not competently.

You don't have to stick with cables - but make sure you have a cable as a backup. Some pedalboard receivers have a dedicated Guitar Input socket so you don't even have to faff around disconnecting the wireless. Just plug the cable in, swap to that input, and off you go. 30 seconds max. The discontinued L6 G70/75 does that, the new model Shure GLXD16+ has it, and others. If I was in the market now I'd get a dual band (Like the new Shure) that automatically swaps between 2.4 and 5Ghz as needed to reduce congestion and dropouts. https://www.shure.com/en-GB/products/wireless-systems/glx-d_plus/glxd16p?variant=GLXD16+UK-Z4#explore As BigredX says - there are no 100% reliable systems at any money. Even the monster stage stuff like Metallica use where the players can be 30 meters apart have multiple back ups and have cables ready just in case. Sometimes the local conditions are just not what you need. That is not the fault of the gear though. There's no 100% reliable amps / basses / power supplies / singers either.

I've had a Boss LS-2 forever. It just works great. Sometimes I use just a single loop to turn on 2 or 3 at once in a single loop, sometimes I put different things in each loop, and sometimes I use it as a clean blend. It's the least exciting pedal in the world, but it's so useful! And it's a Boss so if you buy a new one you can leave it to the next generation in your Will. It will still be working just fine.

Funny you mention the selector switch. I used to prefer that too. I thought they sounded better but I also thought that was just in my head! Then after talking with a pickup maker I got my first lesson about insertion loss when 2 pickups are competing with each other via different pots or a passive balance control. Using a selector switch and just a single vol & tone solves that but then there are no blended tones available other than 50/50. Or more like 70/30 on a P because the P pickup is much more powerful. So on my j type I put in an EMG active balance control that removes insertion loss issues. Now I get the full J type tone no matter where the balance is set. I liked it so much I’ve done the same with my Ibby Mezzo too albeit with the EMG PJ-X set. The P alone sounds just like a P should, and the combined tone is much better. The P usually overpowers a J but with this set up I can balance it properly without any of the frequency loss that annoyed me when trying to balance passive PJ sets. The only trouble is that EMG active blend - 2 models, ABC and ABCX, are a bit expensive to buy as a single item, but for their full preamp systems that include a blend it is an active one.

Does Sadowsky do a 40-100 set instead?

It’s wonderful when something clicks and everything works!

It will cost you more money! There's lots of lovely examples in that thread, and some great advice too.

I have no idea why you are trying to pick a fight over a subjective opinion. I wish you good day.

I try not to speak for the majority until I've actually spoken to a majority of them to make sure I'm not presenting their views incorrectly.

There's a control on it called "Distortion" and it's a fuzz. It sounds like a fuzz and not a distortion.

Sounds more like a fuzz than a distortion. Nothing wrong with the tone, but it's not described well. EHX have a habit of doing that.

My own views are summed up by this (Some very naughty words WARNING!)

It's hardly Axl Rose levels of wankery though, is it?!

I don't know if anyone has posted these... but 2 Maxell tape adverts in 1 vid... Still makes me laugh after all these years.

D'addario Pro Steel for me. .135 tapered.

If you don't want to use an amp at all, then either a powered FRFR cab or straight into the main PA. Or both so you get some personal monitoring on stage. RCF / Yamaha / QSC all make good powered PA cabs that are excellent for use with preamp pedals and modellers etc.

I might try that on my long scale. Really more for swapping between E and D standard. I have 2 guitars, 1 in E and the other in D standard for recording and that might make things a lot easier for trying stuff out.

The 7000 was really just 2 3500 in a box. I had a LH500. It wasn’t impressive. Uninspiring. Good as just a power amp though.

Stu was a big name Hartke endorser many years ago. IIRC the MB is a modern version of the HA3500. I ran a HA3500 for years. It was a great amp. Probably the last good amp they did.