CameronJ

Useful to know - cheers @EBS_freak. I shall no doubt post here again once I receive the goods from CIEM. I’m quite excited!

Is it odd that I didn’t really notice a difference in my hearing before/after the micro suction? I know I technically should have (especially seeing how much wax was removed!) but the difference was negligible. Definitely a worthwhile process though - good to give the old lugholes a good clean out.

I’ve taken the plunge and ordered a set of UE6s from Custom IEM Co. Had my impressions done on Friday at Hearology in Liverpool Street (London) which was actually a very pleasant experience. Turned out my ears were absurdly wax-filled but they were able to do the microsuction there and then to clear my ear canals and get the impressions done. I was in and out in less than half an hour. Quick and painless. Should hopefully receive the finished product just before I head off for Panto at the start of November

Compare the price of the new Roland Fantom to the prices of a Korg Kronos 2 or a Yamaha Genos. I’ll wait. They sit in exactly the same price range. Some Roland fans are reacting badly as the most recent FA series workstations were considerably cheaper. What some folk don’t realise, however, is that the FA series was never a true replacement for the older Fantoms due to lower overall quality. Plastic construction, external PSU rather than internal, less comprehensive I/O to name a few of the major factors. It has been several years now since the FA has been on the scene as Roland’s “flagship” so it’s hard to accept a sudden £1k price rise for the new model, regardless of whether or not it’s competitive compared to other equivalent options on the market. Having previously owned a Roland FA06 for a couple of years, I realised that I much prefer the immediacy of the interface on a stage piano like a Nord Stage or a Yamaha CP rather than the endless UI menus and screen time of a full-blown workstation keyboard.

I wouldn’t be surprised! Though the resolution and stage lighting are preventing me from being able to tell for sure. Based on the playing alone it could well be him.

It’s not me in the video, but glad I could help

For the benefit of anyone stumbling upon this thread in future, here’s a nice little demo/comparison of a few different brands of flats. The Rotosounds are very bright here!

I’d never clocked this as I browse in portrait mode 99% of the time on my iPad! Thanks for the heads up.

Bo is quickly becoming one of my favourite players. Always so tasteful!

Currently on the train home after doing a trade deal with Dave for his beautiful Dingwall Super P. I’d lusted after it via PM on and off for several months and Dave was incredibly patient with me throughout! Anyway, we met in the obligatory car park setting and inspected each other’s instruments whilst I munched on a hot panini. HSBC/Barclays threw a mild spanner in the works, taking their sweet time in processing my money transfer but it all turned out fine and we’ve both (I hope) walked away happy Basschatters! I’ve certainly got a grin on my face. From start to finish a pleasant experience and I can thoroughly recommend doing business with Dave. Thanks for being such a gent - hope to deal with you again!

This is true!

You’re unlikely to get vintage tones from your Ibanez SR, but between a Sire and a Yamaha BB you’ve got most of the classic tones covered. Spend a few quid on strings and you’ll be golden. My personal opinion is put flats on the Yamaha and keep rounds on the Sire. Enjoy!

Have to agree 100%. There’s a way to do practically anything & everything on the Helices, and it’s usually very logically laid out. The Line 6 team have set the bar for product usability IMO.

Nice! From the photo of you playing live I thought it was a fiesta red-ish colour. Imagine my surprise when I scrolled down! Looks lovely.

+1 I do this this as well. Seems to be the quickest and easiest way to adjust the overall patch level. I’ve also set the master volume knob on my Stomp to only affect the headphone out, so the main outs are fixed at max volume. Gives you one less thing to worry about, especially when the amp/speakers have their own physical volume controls! Also prevents any dire consequences if that volume knob gets knocked in a live situation.

You took the words right out of my fingers!

Thumpy, chewy and old school! Arguably more so than Flatwounds, but they certainly live in the same tonal ballpark. The main difference for me is the way they interact with the frets - tapes have a rubbery/plasticky “clack” whereas flats have more metallic “clank”. Ultimately though, in a mix, they’ll sound similar enough to not make much difference. The main deciding factor for you will be whether you like looser feel of tapes vs the stiffer feel of most flats. The video below shows the sound differences pretty well IMO:

Nylon tapes tend to be a slightly higher gauge per string than a typical set of rounds, so you might need to widen your nut slots. I’ve only ever used Labella Black Nylons. They sound fantastic IMO but be prepared to adjust your plucking technique as they are a lot looser feeling than many other string types.