stewblack

I recommend installing one of the desktop applications - makes it a breeze to alter the parameters of the effects when using it like this.

Martha Reeves is Quoted in Standing In The Shadows Of Motown as saying " He never played the same lick twice. They'd give him some chord sheets and they'd say, 'Give me something James' " As I'm working through a few bars of the great man's work I often have pause to remember this. It's like a keen chess player recreating one of the games by the grand masters. An enthusiastic snooker player carefully setting up the table and trying to recreate a series of shots as played by a world champion in a final. He started out ahead of me by such a margin it seems impertinent of me to discuss his work never mind pretend to understand how he thought. However I know there are those here who are better trained and qualified to explain what's going on. It's my hope that you'll join this thread and help me deepen my understanding. I'm looking at Gladys Knight's version of Grapevine right now and there's a lovely section where you can imagine Jamerson being given a sheet, scanning down and seeing "6 bars instrumental, F" and then just coming up with this He did this all day everyday and knew his way around the fretboard instinctively. If I had improvised this it would have been different every bar because I'd be flying by the seat of my pants on every single first beat. When you start studying Jamerson there's a sense that he knows by what he's played at the start of the bar what he needs to do at the end to end up exactly where he wants to be to start the next bar. Like the chess player he thinks several moves ahead. My timing goes whenever I have to think to hard about note choice or finger placement, because he had such mastery over what he was going to play he could have fun with the feel he lends the piece. The line before the chorus in this song is a perfect illustration of this ability to think on the fly. It's two bars, nearly identical to the chorus, except he jumps up the octave a whole beat earlier, realising (at 113 bpm) that he's going to land a beat early he throws in an eighth note and a couple of sixteenth notes which not only follow the upward run of the preceding notes but then drop to the perfect note to lead us into the next bar. But I could talk about that chorus line all day - I think I'll leave it for another day, today I'd love to know what people think of the part quoted above.

I remember you have a particular sensitivity to extraneous noise. I wonder if a more expensive version is a good idea. I think the design itself will always be vulnerable to damage.

Any particular thing drew you to this one? I see they have one with 'Bass' written on it. Although I'm skeptical as to what real difference this makes.

Any Valeton stuff I've had has been well made. The vulnerability with my Vox amplug was me. I trod on my own headphone cable and rather than just unplug it ripped the guts out of it.

Got a photo? All the ones I've removed have been screwed in.

I know you won't regret it. A great practise tool, (and a very useable gig tool) , and you can power it with batteries too.

But yes I strongly suspect I gave it way too much juice.

I often come across this sentiment. I have no reason to question anybody's judgement or taste or opinion - and I am definitely not doing so here. I'm just interested to know how many of us could tell in a blind test what we were playing through? How much is a result of confirmation bias, or just an unavoidable mental connection between big heavy objects and big heavy sounds. Effect pedals housed in plastic are sometimes described as having a less substantial sound than similar pedals in a metal case ( I've also read where these described as toys). Not having a go at anyone especially not @DiMarco who accepts the role played by valve snobbery in his own thought process. We make similar judgements based on price (you get what you pay for - ever heard this before?). Today I was browsing cheap wireless bugs. I found the same unit for sale at £11 new and many price points up to £25. Following tise logic if I wanted better quality I should buy the more expensive one, right? If I do buy a £10 wireless I expect it to sound worse than my Line 6 right? How does this expectation alter my perception of the quality of the unit? Anyway carry on, sorry for the diversion.

+1. Got mine for £45 as good as new.

QED

Hmmm, interesting 🤔

Thanks for the sympathy. 🤦‍♂️ Checking the reviews it isn't the first time one of these overheated. I am not giving up!

Interesting 🤔

Really tidy job. As you say, you'd hope that a 600 quid bass would sound better, but isn't it astonishing how close an £80 kit can get? Looks very good.

Beautiful.

Put this together as a small board for simple rigs when I don't want to fuss with my bi-amp set up. Not that I seem to be gigging now or anytime soon. But board building is fun isn't it? The ms-60b is set as a Flanger and noise gate. Whole thing is powered by a Harley Benton battery.

I've heard great things about the Ibanez - not so easy to find these days. That sounds nice

Houston, we have a problem. The love seat just blew up! The audio exciter got audio over excited, overheated, melted the glue holding it together and prolapsed onto the floor. Back as they say, to the drawing board.

That's great. I have various flanging options on multi effects. I wondered if the standalone pedals offered anything more.

Definitely take a quick video with your phone for the ammoon seller. I've done this and been sent replacements with sellers. Takes seconds. Guitarist I worked with used one of these generic affordable wireless bugs for at least 35 gigs before lockdown and never experienced any issues.

curious the same thing happened twice.

Really nicely done. I too dislike bridge pups on a P. I love your solution, all the benefits of flexibility without spoiling the classic look.