dannybuoy

I've got a bunch of the above also. I'd go for a solderless wiring kit though if you want everything super tight and neat. A lot of people like the flat EBS cables, they are very slim and flexible, but I found them to introduce a lot of noise in certain environments, I suspect the shielding is not up to scratch, whether that's due to the plastic jacks or the cable construction itself, I'm not sure.

I'm not sure it does offer what you're after there - an octaver set to the same pitch as the incoming signal to act as a tonal thickener, a bit like the FEA Growler pedal? If you have an audio interface, get the trial of Helix Native and find out for yourself!

The need for insurance is ridiculous really. You don't pay for insurance when you order a meal at a restaurant, if they burn your food or screw up the order, they damn well rectify the problem as they have a reputation to uphold. Although on the other hand you do need limits in place to stop people abusing the system with claims such as 'that parcel of mine you lost contained £1 million in cash, so pay up'!

The pedal will run fine at 9v. Many, but not all, supplies will happily power it from a 100mA output, they can often put out a bit more than labelled, and pedals often use a bit less than the manual states. Both sides involve a certain margin of error. I recommend the Visual Sound One Spot CS-6 / CS-7. They are designed differently to most supplies out there, using switching tech instead of transformers. The manufacturer even states you can ignore the individual mA labels as long as you don't exceed the amount rated for the entire brick. The Strymon range might be like this too, I can't confirm though.

Indeed, I gigged the hell out of a 415. 100% road worthy!

It's totally digital as far as I'm aware.

PMT in Cardiff might have some Sandbergs and Yamahas in stock also if that's any closer.

I tried all the PJs I could get my hands on around London a couple of years ago and ended up with a MIJ Jazz Special. The Aerodyne was one of the most disappointing of the bunch. The Music Man Caprice was one of my favourites but it's not cheap. I might have bought that instead if the example I found wasn't damaged and overpriced and in a different colour! My favourite amongst the Fenders was a Troy Sanders Jaguar. Also the Geddy Lee Jazz, but that's not a PJ. Ultimately though I sold the Jazz Special as I realised it still could not hold a candle to my trusty Yamaha BB!

Something is quite clearly not right when you might find a straighter neck on an actual '61 Jazz.

Unless it says otherwise in the manual, I doubt that would work? Pretty much every single expression pedal I've seen needs 3 pins to work. The mini Dunlop one gets my vote!

Well if you're covering songs that were written and played on a 4, it's hardly surprising you don't feel a need for it. I use it a lot when making up my own lines however.

That's not mud, that's bass tone perfection!

They're not all digital (all the overdrives are analog), and many of the digital effects have an analog dry signal that mixes with the processed digital portion (mostly the delay/reverb/modulations or anything with a clean blend). But it is a fair comment, I even started a thread a while back posing the same question after seeing some monster boards with rows of digital pedals!

I have a Sandberg Basic with a single MM pickup. Whilst it has a 3 band EQ, I often leave it in passive mode (it has no passive tone control) and it sounds just right as it is. Flatwounds help, i.e. no harsh treble that needs to be reigned in by a tone control. You can always EQ at the amp or pedalboard, so I wouldn't call this a novelty item just for that. That knob does look s h i t though!

If you have an audio interface you can download a free trial of Helix Native and see for yourself if it can replace all of those.

In Joe Dart's fingertips!

That's quite impressive they sold that quickly!

It looks like a short/medium scale to me as well? I'd like one of these, but I'm quite happy enough with my flatwound-wearing Sandberg Basic that I picked up for about tree fiddy!

They sound pretty different, that would be the deciding factor for me.

I've seen a few custom BB2024Xs (one with a maple board, one with a stealth matte black finish including painted neck) around, always worth asking Yamaha direct about custom options on the Japanese models.

@fuzzonaut which band do you play with?

I don't think Interparcel's terms and conditions contain anything about hard cases or payout limits for musical instruments. Worth checking out just in case. But then again, if they are just contracting the work out to other couriers, is the insurance with the end courier (who will each have different rules), or the middleman?

BB2025Xs were under £1800 new on BassDirect when they first came out. Prices (or RRP at least) seems to have crept up since then, but street prices were always much lower. The main difference between the two for me was the neck, more of a hand rubbed oil finish on the Japanese model, much nicer in the hand!

The processing delay inherent in the digital side will result in issues when blended with the dry signal, it would produce an effect like a flanger but stuck in one position instead of cycling round. However you might not notice it if the latency is very very low. You could of course get two similar digital multis in each loop of the LS-2 to counter this!