BigRedX

It can be useful to have a (easily found) domain name with a single page that highlights any important information and then includes links to all your social media and on-line sales sites (Facebook/Instagram/Tiktok/YouTube/Bandcamp/etc.) You used to get more than enough web space free with your domain name registration to be able to do this, but that appears to be a thing of the past.

One thing to be aware of is that projects saved in the very latest version of Logic X are not completely backwards compatible with earlier versions. Previously you would get a message saying that the project was created by a newer version of Logic X and may not be compatible, but it would open even if there were elements that the older version didn't recognise because they used features only available in the newer version. However since the last update I now get a message saying the project can't be opened at all. This doesn't appear to affect Logic users on Catalina yet (the affected Mac is only running High Sierra), but could become issue in the future.

I'd say that Tuba Smarties was far worse.

One of my bands has a proper web site with CMS and everything, that hardly anyone ever looks at. For the other one I just have a domain name which points at our Facebook page and costs about £10/year.

Surely this only works for a given scale length, string type, string gauge and tuning?

Any supposed benefits of esoteric HiFi are completely and utterly negated by: 1. The end user's listening environment. 2. The 100's of metres of (comparably) very ordinary cables that the audio signals have passed through (not to mention the number of high-density circuit boards full of surface-mount components) before they reach the end user's chosen delivery medium.

Depending on what you want to do, you might be able to all (or at least some of it) using QuickTime Player.

While I like the decoration on both, that pedal board would drive me nuts. Wonder how visible all the controls will be under typical stage conditions?

Don't get me wrong, I like Underworld, although the quality IMO does drop off around "100 Days Off", but I like Freur and the original version of Underworld a lot more. I'm surprised you didn't get that from my user name...

There shouldn't be any customs implications for a warranty return, although there is a load of additional paperwork, and you may have to pay VAT and duties upfront and then claim them back. That's why in my previous post I said it's only worth it if there a substantial savings over buying the same item from a proper UK source or if it is something you can't get without importing.

I've been accused of this. My defence is that for an artist to become popular enough for enough other people to like then, they have a generally change their musical style to one I am not as enthusiastic about. Cases is point: Firstly I really liked the first U2 album. After that it's been steadily downhill with each subsequent release. Secondly no-one can convince me that Underworld are superior to Freur...

Yes they are.

IME multiple pickups are one of those things that sound great when you are playing on your own, but seem to weaken the sound in a band mix. I always end up using just one of the pickups on its own. However I don't know which pickup as going to sound the best until I am playing with the other instruments, so having more than one is useful for getting the right basic sound. The exception to this is having two pickups wired in series which sounds good on its own and in the band mix.

Yes, I've done myself with previous version of Logic X. There are two methods: 1. If she knows someone that she trusts who has a suitably up to date Mac, and will let her create a temporary user account on it. Then she can sign on her temporary account, and use her Apple ID to access the store and purchase the latest version of Logic. Back on her own Mac she can then get the most recent version that will run under Catalina, by going her "Purchased" list in the app store. Once that has worked she can delete the temporary user account off the other Mac. 2. Alternatively she could buy the cheapest suitable Mac she can find form an on-line retailer. Create a user account and buy Logic as before, and then download the latest working version on her Mac. Once that has been done, wipe the new Mac and return for a refund under the distance selling regulations.

The rule of thumb is to add 25% to the price of the item plus shipping cost and then an additional £15 to cover import duty handling fees. If you are still making a significant saving (or it is an item you can’t get in the UK) then it is worth it.

“Level” graphics appear to be missing.

Whatever my luthier recommends. They are probably a lot better placed than I am to know which tuners will be the right ones for me.

I see the main floor is still the basic floor boards. What covering are you intending to put over them?

The Peak is indeed a lovely synth, but it doesn't have a keyboard and costs as about 4 times as much as the Bass Station... I'd love to see a synth as fully featured as this in both sound shaping and user interface areas with a built-in 2 1/2 to 3 octave keyboard, but I suspect I'm very much in a minority.

I was going to say: that's a lot of hard reflective surfaces. It will be interesting to see how you are going to treat it.

Why are the XLR connectors in the image shown when you click the link both male? There are only very few highly specialised instances when you would need a male-male XLR cable (such as using a passive DI box for re-amping a recorded signal). It's a bogus as the rest of the site.

Depending on the PA desk it may not be possible to turn off the phantom power at a channel by channel level. I always take a simple passive DI box which I run from one of the unbalanced outputs of my Helix for connection to the PA (I use the balanced line XLR out of the Helix to connect to my FRFR if I need to use it.)

IMO the design and construction choices for an acoustic instrument are completely different or generally ignored for a solid electric one. When a luthier makes an acoustic guitar all the major pieces of wood are carefully chosen. Internal bracing is the minimum required to give the body enough strength to withstand the forces applied to it by the strings and the player, and the various surfaces are glued together with the smallest amount of contact and just enough glue to hold everything in place. The shape of the instrument is the best compromise achievable between sound and ergonomics. Compare that with a typical mass produced solid electric instrument. These days very few bodies are made of a single piece of wood. Most are cobbled together seemingly at random (and probably down to the most cost effective use of the boards available) from two or more pieces, and as far as I can tell apart from making sure no joints run through the neck pocket, anything else is acceptable. If the wood does have any perceptible impact (be that either positive or negative) on the amplified sound of the instrument it is entirely by chance. And regarding bridge types, since the body of a solid electric instrument is already a very weighty object, and once the bridge has been properly attached to the body they essentially act as a single unit, the difference in overall mass between the standard BBOT and a high mass bridge is negligible.

Would the UK have won if all those sympathy votes hadn't gone to the Ukraine? Wouldn't Spain and/or Sweden have picked them up?

All about construction rather than the actual woods.