Woodinblack

Oh did that once. Although I broke the big one too. Hope the drugs don't fade out too soon!

oh yes, I know what you mean in that case. I got the future impact, fantastic effects and stuff but I didn't have the time to really use it, so got rid of it.

I was just saying in the states, it would probably be cheaper to get one from thomman where they are under 3k, as if you buy one in NY and bring it home you are still liable for vat and import duties unless you want to illegally smuggle it in.

I have a very short delay (and I mean really short) on as a permenant effect on the HXFX, you can't really hear it as such but it fattens up the sound quite a bit and adds a bit of presence. The rest of the effects are selected as required per the song.

As an addition to what programming actually means, the way you generally use it is like this. Fiddle with the knobs, when you like the sound you get, press menu and exit at the same time. It then asks you what patch number you want to write it to (I can't remember how many there are but certainly at least 128) then you turn the knob next to the display to get to the number you want, then press the knob in and it writes it (or exit and it doesn't). If you press menu you can change the display type or name the patches. Once you have a patch you can obviously just change the knobs to change the sound and it shows you on the display that you are not currently aligned with that patch any more. Pressing the right button cycles through the patches, pressing the left turns the effect on and off. Holding the button locks the sound like the SY1 main button. Its a bit wider than the SY1, but the sockets are at the top, so it doesn't take more sideways space. Its a bit cramped at the top though. Strangely it takes 2 AA batteries, but still a 9v adapter as usual.

The three knobs at the top aren't always the same, so the resonance is only available on some voices. I think it just clears up what each bit does, like the range on some patches. There is more variation I think, although the basic voices are pretty similar. The only time you really use the menu is if you want to put a label for a patch. I loved the SY-1. I love the SY-200, I think it is a logical progression for an SY-1 for a cover band where you have some pre-determined ideas of what you want.

It is here, but in the US I would imagine it is a street price of $3k. In fact if you go to sweetwater, if you are in a state that sweetwaters distribution centre isn't, you can get the harvest orange 6 string for $2999 delivered to your door.

Resonance is a combination of the width and depth of a filter, so the more resonant something is the more you can hear it as a specific note rather than a range of notes. Like a mid control, covers a range from bass to treble - the narrower you make the range, the more you can hear a specific tone. As the owner of a SY200, I haven't spent hours programming the preset - frankly there isn't much to program. You just play with the knobs like the SY1 (very much like, almost the same exept a few more options) and when you get a sound you like you store it in a memory. When you are playing it live you can play with the knobs as much as you like on the SY1 (its not like a helix or something where you have to program it, it really has the same knobs). However, if you are (as I do) playing a song where you want a whirly organ preset, then you finish and the guitarist decides that instead of doing the song you thought you were doing, you are doing one that you like using a sweep synth preset, instead of thinking 'ah yes, that was synth 2. variation 11, with the mix lower and the range much higher, you press the button to change to that patch and you are there. So @stewblack I am not really with you on your programming problem - the SY200 has exactly the same controls that the SY1 has (in fact 1 more), it just as presets and the ability to change them from midi if you wanted so there is literally nothing it takes away from the SY1. Most of the time playing with it I just move the knobs to suit the room, but I have a get to the right place when the next song that I wasn't expecting had already started!

Obviously they are much clearer labels but not everyone is in somerset

I always felt it was wrong, but at least it is consistent. I always think of all audio flows going from left to right, as they have in most audio things, including most amps. I guess its due to the lead coming out on the right (for us 'normal' people), but I can live with a long lead going to the other side of a box (especially as I am wireless),.

Really? that is a surprise, but then he is the one that knows.

The Behringer effects pedals that I previously owned had a blue LED that was so bright you couldn't look at the pedal board. Generally had to put some sticking tape over it to dull them down.

Ah, ok. The only genuine Model D I ever played drifted like mad, maybe it was a duff one!

Is that not authentic though? Joys of analogue!

They are - there are all those mini effects that are basically the same as the full size effect but without a battery compartment, so they can be smaller. If you are making a pedalboard layout it makes sense. I prefer ones with batteries. I agree at some point but there are some knobs that change something, but there is no real descriptive name for what it does. You have to call it something (or you could put a symbol on, but does that help?). I think it is the other way round. Something becomes rare or unavailable, it then instantly becomes desirable. If those things were still made, there would be nothing like the same level of interest. Plus there is the 'xx years old, must be better', where just because something is old it is desirable. Like people buying Kays!

I had looked at these. The wiring, preamp and basic bart pickups show that they are made in the same place as the 3 digit ibanez's, looks pretty much the same as probably about as inspiring, which still being a fundamentally reasonable bass. Sadly there aren't so many around, as I had thought if I could find one cheap and put nords in them it would be an interesting thing.

Well, the polytune existed before the unitune. Certainly I don't use the poly part on the bass, but it is handy on the guitar. One strum and you can tune it all, couple of seconds and you are done.

Yes, the red wires are jumpers. the fender player had humbucker pickups, but in two positions, the humbuckers aren't on and they are single coils, so you will get a thinner sound with a bit more noise, a bit more like a traditional jazz.

There is a link here to the switching: https://www.talkbass.com/threads/need-help-fender-modern-player-jazz-v.1355552/

looks good, but I don't think I could afford to be that in tune!

That looks a great colour, I would have been very interested if it wasn't missing a string!

There was a firemist gold on reverb - that one? That is a colour that I really love, but without having time to try it first (or familiarity with any bongos) it was a bit much for me.

Not that pedal specifically, but do run a lot of distortions through the Helix to the ABM. Its about as noisy as you would expect from a distortion pedal, ie, same as any other amp really.

TC Polytune. I have a korg one and a free reverb one too, but the polytune is the good one

Still looks like a very dull overcooked vegatable green to me!