LLOYDWT

Smiths of all flavours are all about the mids. The Burners are more "Jazz bass" than the Americans, but they're still very *SMITH* (I think it's all in the pickup positions). The modern Burners I've played are naturally woollier, whilst my BT6s are more focussed and "forward sounding." They can both do the pre-transient punch for that thing all Jaco fans are chasing but without the need to solo or favour the bridge pickup (which gives all Smiths more depth, IMO). My BT6s, and the other US Smiths I've played, have a more pronounced compression, but they're still really dynamic. I used to like a really scooped sound, but the Smiths have such musical mids that sit so well in any mix that they've really dictated my tone since buying them. If you're ever Ipswich way, you're welcome to try mine.

The Hadrien Feraud Burners are great basses, but sonically quite different from the Patitucci/Melvin Lee Davis tone that the US-made BTs are known for, though they can be EQ'd into the same ballpark. If you're wanting to scratch that 80s-Pattituci itch, I'd go for an 80s/early-90s BT5 or BT6, but you'll need to deal with the "coffee-table-bass" aesthetic and the heavier-than-the-sun weight. but if it's the body shape you want, the Burners are amazing basses.

You get a free entry if you've got an account with them. I created an account when I bought a bass from them at the beginning of the year, so logged in and entered. It's a Road Worn P Bass up for grabs, I don't think it'll be displacing my Smiths, Overwaters or Alleva Coppolo P5, but gift horses' mouths and all that...

That's a massive improvement. I've just bought a CQ12T for a permanent installation, so I'll get to test this out tomorrow with that; but nothing in the books for a few weeks to use my personal CQ20B; this, and the loss of focus, are the only features where, in my opinion, the Midas trumped the A&H; it's so close to being perfect now.

There are four FX blocks, so you can choose up to four effects to use at any one time. All channels can be routed to all FX, much like you'd route a channel to a bus, and FX can be routed to other FX too. So by default, if you put say a reverb on a vocal mic, you're sending a clean vocal signal and an affected vocal signal to FoH and you can make changes by riding the two levels, sending more dry signal to the FX channel, or changing the quality of the reverb from the FX sub-menu. You can also change the FX from "Shared" to "Inserted" which then requires you to specify a single channel (or stereo pair) to receive that effect, which is then not available on any other channel; but that then means you lose the dry signal, and you control your affected output via that channel's fader. It's more intuitive than it sounds and allows you to control the FX any way you can imagine with a lot of detail. The presets are really good and I've been able to dial in exactly what I've wanted within seconds of hitting the FX sub-menu. I did an acoustic duo gig last month, and used the double tracker on the guitar which added some missing depth; I've not used it on vocals yet, as I don't think it's an effect I want on all the time, and my hands are busy playing.

I bought an amp and cabinet from Daryl today. Great communication and a easy and stress-free exchange. The amp and cab were in excellent condition; Daryl clearly takes care of his gear. I wouldn't hesitate to buy from him again

The WiFi has been faultless and was worth the cost of entry alone. I really don't miss having to use a router in addition to the mixer. Mixing Station does not look as user-friendly, or as "aesthetic," as the native CQ app, and, aside from some missing features, and the disconnecting when idle, the CQ app is the best tablet mixing experience I've ever had.