BigRedX

The "manual" is somewhat ambiguous. The one that came with my IEMs says: Under a drawing showing both the earpieces and plugs at the end of the cable, without actually saying which parts are marked "L" and "R". The immediate assumption is to look on the earpieces since they are bigger and actually have room for the markings. I'll be putting a discrete colour blob on mine to allow me to quickly see which is which in low-light conditions - i.e. at your typical gig.

All the connections appear to be there for both MIDI In and Out, however because they share a common ground, in making up a TRS Jack to 2 x 5-pin DIN connectors you'll be potentially creating an earth loop between the MIDI In and Out at the other end of the cable. In a way I can see why Meris have done this. It allows them to use one of the existing sockets on their pedals as a MIDI connection using a reasonably gig-proof connector (1/4" jack). From an electrical PoV separate 3.5mm mini-jacks for MIDI in and out would be better, but they're not as robust unless the pedal and everything it connects to for MIDI live permanently on a pedal board. MIDI over USB isn't really MIDI, it's just a communication protocol that allows MIDI-type data to for end between devices. However unlike traditional MIDI which is a peer-to-peer protocol, MIDI over USB requires one of the devices (usually the computer) to be the "host" which controls the transmission of data to everything else. Also IMO USB connectors (especially the smaller ones like USB C) have no business being on equipment that is intended for serious gigging use. They and the cables they come with simply aren't robust enough. (Even though I use a USB C connection for the foot pedal used to control our backing - I carry a spare - and the pedal itself is not mission-critical, just convenient).

If this is the venue I'm thinking of, I'm amazed that you fitted in there!

I don't think @nilorius is from Latvia at all. It's probably The Big Beef Chief doing a Samuel K Amphong at our expense. Admit it now - I've sussed you out...

Having looked at the manual for the Meris MIDI I/O it looks as though you can do what you want with a 5-pin DIN to TRS jack. However this is only possible because Meris have chosen to ignore the MIDI conventions designed to protect your MIDI equipment and prevent ground loops and hum on the audio side. Using a single three conductor cable for both MIDI in and MIDI out means that you dispense with both screening isolation, and opt-isloation of the data signal. IMO you use at your own risk.

@bloke_zero has beaten me to it. Some additional information. Traditional MIDI uses three conductors in the cables with 5-pin DIN sockets on them. Two for the data and one for the screen/earth. On the MIDI In socket, all of these connections should be isolated from the receiving device. The screen is simply terminates at the socket and should not be connected to the earth of the receiving device. Similarly the two conductors transmitting the data are onto-isolated from the rest of the circuitry. MIDI was design this way from the ground up to stop it from forming earth loops with the audio side of your gear. Therefore if you are getting earth hum it shouldn't be caused by your MIDI connections. The very original MIDI spec suggested XLR connectors but this was over-ruled by the Japanese manufacturers who want to keep costs down by using 5-pin DIN instead. These days the situation is even worse with all sorts of plugs and sockets masquerading as MIDI connections. Some are actual MIDI connections and some like the socket on your Meris Pedal need additional devices to make them function in the same way. Also the original MIDI spec said that if your device sports MIDI connectors other than the traditional 5-pin DIN it should be supplied with a suitable adaptor. My Tenori-On which has a multi-way mini DIN socket came with a lead that terminated in MIDI In and Out in-line sockets. Unfortunately you are almost definitely going to need the expensive adaptor box if your want MIDI control of your Meris pedal. If it was possible to use a single TRS jack to supply both MIDI In and Out, there would be no isolation of either the screen or the data connection which would almost certainly lead to earth loops and hum.

It will depend on how you tune it. If like @Dood you're going down to F# with that 6th string then maybe yes. Or if your are venturing into Bass VI (30" scale tuned an octave lower than a guitar) territory than definitely yes. However I've always found that 34" scale makes anything played on the high C string sound like bad jazz guitar, and I've not yet found a short scale bass with a low B string that I could get on with (I know that are others on here who will disagree with that, but I favour an extra heavy B string even for 34" scale). Also I've been playing 5-string basses since 1989 when I came back to playing bass after having spent most of the 80s playing synths, and found the additional low notes useful, plus I found that now the E string wasn't at the edge of the neck "disco octaves" using that string were much easier for me than before. Apart from a brief time in the 2000s when I was also playing fretless bass and couldn't find a decent 5-string one, I haven't played a 4-string bass apart from on a few studio sessions. These days I play 34" 5-string bass with one band and Bass VI with another. In the end it's all down to personal taste.

After 3 or 4 gigs in a row where I was asked by the PA engineer to turn down on stage so much that I could hear the bass guitar louder from the guitarist's monitor on the other side of the stage then I could from my own rig immediately behind me, I sold all my bass (and guitar) amplification and bought an FRFR to use in rehearsals and those few gigs I do where the PA foldback isn't up to the job of letting me hear myself.

I've just had a look at the B1 Four manual and there is absolutely no mention of MIDI. The USB port appears to be for powering the device or using the editing app on a computer. In fact AFAICS none of the Zoom Bass Multi-effects have MIDI functionality. The B3n mentions MIDI over USB in the specification, but absolutely no mention of how this works or what MIDI commands are received or transmitted is mentioned in the manual. Unless the hack actually works and you are happy doing it, I'd be looking elsewhere for multi-effects with MIDI facilities.

Playing an Esh Poseidon no less. Impressive!

What's your budget? I'm a Helix user. I bought the full Helix Floor on the assumption that if I went for one of the lesser models, there would be something missing from it that I needed. Both my bands run automated backing tracks from a laptop and I have 1 Helix Preset per song with up to 8 Snapshots within that to cope with all the various effects and tonal changes that I require for each song. All the Preset and Snapshot changes are automated so I don't have to worry about being in the right place on stage to hit a footswitch at the correct moment - one song has sound changes every two bars. Also I use some MIDI CC commands to do things like filter automation. The Helix Floor has both convention MIDI Din sockets and MIDI over USB and seems to work fine by either method. The only caveat to this is some other MIDI devices are not happy about receiving program change commands via the MIDI thru socket of the Helix when the Helix itself is being controlled via MIDI over USB.

So you intend to have a single patch for each song, selected when you load the "crib sheet" for that song? That should be fairly straight forward. AFAICS BandHelper supports sending MIDI program changes. The only possible issue I can see is that MIDI over USB is not a peer-to-peer protocol like traditional MIDI over DIN leads, but requires a controlling host device. So long as your tablet meets this criterion and you have the correct lead to connect the two together it should work.

What exactly do you want to control over MIDI. Simple patch changes or more complex stuff? If its more complex stuff can you give more details?

If I had the money, I'd already have it. Gus G3 Bass VI. Based on the Gus G3 30" scale baritone configuration but with a Shergold Marathon 6 String Bass neck width. Three pickups in the Fender Bass VI positions. Two channel output on an XLR connector and switches for each pick up to send them to each channel or turn them off. Piezo transducers under the saddles for feeding a Roland V-Bass system. One volume control for the magnetic pickups and another for the V-Bass. No other controls. White pearl sparkle finish including the fretboard, and bright chrome on all the metalwork.

How was your gig last night? flipping brilliant! Hurtsfall were playing Goth City 7 in Leeds on the main stage at Boom, opening for Promenade Cinema and Auger. We did Goth City two years ago at a different venue which was good, but this was overall in another league. Sound check was a bit rushed, but we're quick at setting up and as long as our singer can hear himself and we can all hear the drums on the backing track, we can make do. Managed to get a decent on-stage sound just before doors opened. An hour later when we actually came to play, we were surprised to find that not only was the room filling up but there were people right at the front of the stage - normally our singer will try and get them to shuffle forward about half way through the set. By the end of the first song the room was pretty much full and people were cheering like mad - unbelievable! There were a few people done the front who we had never seen at our gigs before, singing along to all the songs - although the very new one had them a bit stumped! Mad applause and whooping and cheering followed the end of every song, and if it wasn't for the fact that the whole evening was on a tight schedule and we'd over-run slightly as our singer has a tendency to waffle a bit between songs, I'd have been tempted to do an encore. I don't like bands that come back to play another song just because a couple of their mates shout "more" - I'm a firm believer that both the band and the audience should earn an encore, and if there hadn't been the time constraints I think in case we'd have been justified. Afterwards we sold nearly all the merch that had brought with us, and lots of people asking when we would be releasing a full album. Both Promenade Cinema (who I'd not seen before) and Auger were excellent, all-in-all a great night of goth-influenced music. No photos so far, but there a couple of professional looking photographers there, so I'll probably be posting some later on.

Has retired from the cable making business and postage to Denmark might not have made them very cost effective even if he was still producing them.

Looks like the new fingerboard has been applied directly over the original one-piece maple neck. I suspect that the finish has worn away from the original fingerboard, and for some reason this was the desired method of fixing it.

Thanks to @MartinB's helpful photo I have got mine assembled and they appear to fit my ears. Unfortunately I haven't been able to play anything through them, because I no longer appear to have a 3.5mm to 1/4" jack adaptor handy. At the moment all the things I want to plug these into have 1/4" sockets and both my other headphones being pro models have 1/4" plugs fitted as standard. Until I find an adaptor or buy a replacement that's it for now...

The cheapest way to get good quality cables to make them yourself using Van Damme cable and Neutrik plugs. Pretty much anything ready made by a largish brand is going to be seriously overpriced. There are some people making custom cables at a decent price (generally using the above components) but all the ones I know are in the UK, so shipping to Denmark will make them too expensive. If you don't want the hassle of making your own, you'll need to find a local equivalent of Designacable. BTW all cables will affect the tone to some degree unless they are only a few feet long, IME when people say a cable isn't affecting the tone what they really mean is it's not affecting the tone in a way they find displeasing.

If I had a spare £2k I'd be seriously considering one of these. I had a JP6 in the 90s which I loved, but it was simply too big and heavy to use live especially when you consider that it was being played by a computer rather than a human being. It was sold and replaced with a Nord Rack. Right now all my synth needs are being met by the plug-ins that come with Logic, but a nice bit of hardware would be appreciated.

Do the controls that aren't present on the original synth become inactive when you load one of the models?

Many thanks. It's not easy to see is it? I needed bright light and a very careful examination of the cable to spot this even after you had pointed in out. Now I know which earpiece goes where and which is left and right time to see if they actually fit my ears!

How much did that cost if you don't mind me asking? I have a very battered Hiscox case that needs a bit of refurbishment, and that sound like an excellent addition to be done at the same time.

That's most likely your problem. Try again with them all turned off in the room, as well as any in adjacent rooms and corridors.

It may well be on eBay because those sellers are prepared to deal with foreign customers while the shop that actually has it in stock is not, and unless you know someone in Japan (who is Japanese or can speak it perfectly) who can go to the shop in person and buy it for you, buying in this way on eBay might be the only way to get the bass in question.