JimBobTTD

Hmm. In the couple of interviews I have seen with the chap, I can understand. He seems very driven and very passionate. Their music is excellent. I shall keep an eye and ear out for what the other members do.

I’m far from an expert on multi systems. The Line6 products I have had - four or five - have been the only ones I have had. I have been massively impressed with what Line6 makes. Truth be told, I think I’m out of the multi game. They are not for me. So my opinions on them are probably best avoided!

I would look for a more modern version...one that is likely to be supported for a couple more years. I tried an X3 and it did not work with a Mac. I ended up with an HD500X. It was still on the Line6 website at the time, so I assume it will be supported for a while longer. A Pod XT Pro I had became a real burden when I could no longer connect it to my Mac. Admittedly, the real common theme here is Apple. But I see it as Line6 not supporting older products. I think the Pod XT will be usable only by itself - and that is fiddly - after a Windows update or two. Your call and caveat emptor and all that, but I would avoid older multifx that require computer connection.

With my BBBOD, yes! Love that pedal. Nonetheless, interested in this YYZ pedal. How does it differ from a standard Sansamp? Can you define the sound...any YouTube videos which come close to the sound you are getting? Which era of Geddy is it most like?

My battle to get my bandmates on IEMs is starting to reach the end of the beginning. We have a Behringer X18 (I think that's its number) which has 6 programmable monitor feeds. I use the iPhone app; it is ok, but not exactly wonderful, either. I found that the mute button on my feed was, by default, on, and not easy to tap to switch off. Before now, I have had a DI out from my pedalboard to a mixer and a mic for the room. It worked, but it was long from good; but, finally, I could hear myself properly. But once we started to record rehearsals - also good for finding a new singer, which we are doing again - and once I got the XR18 set up properly, and once I got the damn mute switched off the Behringer app thing...wow! At last, all the instruments were clear and nicely piped into my ears. It was a glorious moment and one that reinvigorated my rehearsals. Of course, my reaction when it all suddenly started to work and sound good...well, let's just say it caused the others to realise that IEMs might be a good thing, after all. I must need to work on a bit of "if it is too loud, you're too old" line of thinking that is still left.

Apologies if this seems silly...what is stopping someone else downloading the app and messing with the mixes when you’re playing live?

I’m in Stockholm. Even though I have been here since 2002, I still struggle with Skånsk.

Good God...is that what they’re saying? It’s one of those things that I have heard a million times but not really understood and never asked anyone. I got that it was a salutation, of course. Well...after a while. I just thought that the number of people called Måns was a lot higher than it was!

Yup. Take yourself out of any kind of electrical circuit and avoid the problem. I did this after some rather painful shocks from microphones in a rehearsal studio years ago. I have been using a Line 6 G30 since and have been enjoying not being shocked and also the freedom of not having a cable tethering me.

Interesting stuff...thanks!

Benefit of these over the KS10s?

A jobbie that makes the output volume completely level, so when you stomp on various boxes, your level does not drastically change. I’d buy that in a heartbeat. I have tried with compressors, but to no avail If this already exists, let me know!

The board looks like this: With the velcro attached. I can't be removing that and replacing it with the "right" side - it would never look decent. I'll just change the stuff on the pedals. Truth be told, the glue on the velcro on some of them is coming off anyway.

The spiky side (the hook?) is factory-fitted on to the board.

Thanks for the suggestion. This is the only way I can think of, but, like you said, it would likely be wobbly and not all that good. Time to bite the bullet, perhaps. The thing is...if I find this board too large and want to change down, I shall probably have to do it all over again!

I have changed up from a Pedaltrain Metro 16 to a T-Rex Tone Trunk as I wanted something a bit larger. I was waiting for a Metro 24 to come up locally for sale, but then this Tone Trunk came up with the power supply at a low price and I snapped it up. However, the Tone Trunk comes with the spiky side of the velcro on it, and all nicely glued etc...a fitted velcro mat, if you will. Taking it off and changing it would be daft. So my only option is to change the velcro on the bottom of my pedals to the "hairy" side. [There was a thread about which side should be on pedals a while back...you can see which way I think!] So, ladies and gentlemen, before I start removing velcro from my pedals and putting on hairy velcro (if I even have any...), is there a better way to do it? A smarter way of reversing the velcro?

Buy it. Take out all the electronics and replace them with expensive ones. Have it defretted. Then realise the true meaning of "don't need" and "can't play" with the added sting of it no longer being a bargain. That's what I would do!

Line 6 G30 for me. I have had it since 2010/2011and have used it for every band rehearsal and gig since. It is attached to my Levy strap in a proper Levy holder, which might explain why the clip has not broken on mine whereas lots of other people have not been as fortunate. The guitarist in my band bought a different system even though I had said to buy a Line 6. It caused untold grief and he went back to cable after a couple of months.

I was in Trondheim in early June - a lovely part of the country. I have been in Oslo a few times, but only on short business trips. I have never gigged there, but I wanted to chime in about how expensive it is there. This cannot really be ignored. Now, bear in mind that I live in Sweden...not exactly known for being a cheap destination. On this last trip, my colleague and I stayed in an AirBnB and had to sort our own breakfast (despite the BnB part of the name...). A 1.5 litre carton of milk and a small pack of Corn Flakes was twice what I would pay for it in Stockholm which, my visitors say, is about 25% more than what it would cost in London. Be warned!

Thanks, Les. I am looking at cheaper wireless systems for the band. I don't think I can persuade them to go with something pricey as they have not really understood the value of in-ears yet. The KSZ10s are good as far as I can tell. I have not actually tried to use normal earphones, but I would imagine that they would be terrible. The KSZ10s hold the sound well without distortion and are comfortable to wear for long(ish) periods of time. I can see why they are recommended so much.

Does it give good bass response? I am trying to work out what the real difference is between all of them. You can, by and large, name a price and there is a system that costs that amount!

Dear Stunned of Wigan, What system did you buy a couple of years ago? I have mixer/Behringer PS2/KSZ10s - the recommended kit for folks looking to try in ears - and use it with my bass in one channel of the mixer and a room mic in another. It, too, was a revelation but I am considering upgrading to a wireless pack. Or have you invested in some choice in-ears? That, too, is on my to-do list!

Very tasty indeed. Thanks for sharing its progress with us. That orange variphase is quite the looker.