CameronJ

Sounds like rounds to me. No doubt. The muting is what’s causing the confusion.

Just had a read through the change log for 2.8 and there’s some really tasty stuff in there. Not least the ability to set Helix Native to compatibility mode for whatever hardware you’ve got. So for those of us running Stomp, we can set Native to behave exactly like our hardware does. The benefit being guaranteed 1:1 compatibility of presets between the two. Glorious. Unifying all the Helix platforms “under the hood” was a very smart move. Well done Line 6. Also, all the Ampeg models now being explicitly called Ampegs is oddly satisfying!

This makes me despair. Not even slightly surprised it cost $12k... And this makes me want to vom. But at the very least it was an entry-level package aimed at inspiring young beginners. It was probably decent value for money as well - probably approached the build quality of the Custom Shop Hendrix V...

Looks like the innards from a Kiloton in a new body?

Plays like...? I can’t quite tell if it’s a positive expletive or a negative one

Looks like Gibson missed an open goal here.

@skankdelvar have to say I 1000% agree with that. Would be awkward to play as you say but much more authentic to Hendrix and I bet they’d sell!

Very very good move by Fender here. And it has the right pickups too! This looks like a tempting proposition. I wonder how a Mustang would look in Pino colours...

Ooh you tease! Yeah I can see it looking nice as a headless but, to be fair, the D-Bird/D-Roc has one of the most aesthetically pleasing headstocks I’ve seen on a bass.

Especially hanging from a low slung strap

I was so busy admiring the shape I didn’t even realise it was a 5er! Even better

He has fanned knees.

As if on cue... I think it looks fantastic!

You, sir, are in need of a Sandberg!

Agreed. If the designs are protected. If Gibson had done so, there would be no real argument here as they would clearly be in the right and all others in the wrong. Questionable video or no questionable video.

Exactly.

Nope. For the sake of argument, let’s call it “taking” then. One can only steal that which is someone else’s property.

Nice work sir! Here’s one I was listening to just yesterday with a synth part I reckon you’d enjoy learning: Bit more of a challenge but definitely achievable!

I think the point that needs to be made is that the guitar industry, much like many other industries, is a constant cycle of one person borrowing ideas from another. Improving ideas, developing ideas, making things lighter, faster, stronger. Asking “what if...?” Just look at the number of guitar companies who have “made better Fenders than Fender” over the years. This obviously was a kick in the teeth to Fender, especially at a time when the quality of their own instruments was poor. However, without that pressure from competitors Fender might not be in as good a place quality-wise as they are now. There are still countless companies out there who “make better Fenders than Fender”, but at least now that their quality control has improved it isn’t quite such an obvious no-brainer to go with another brand. They still have a long way to go though and I’d prefer to play my Dingwall Super P than an actual Fender Precision, and would rather have a Lakland/Xotic/MTD flavoured J bass than a Fender Jazz all day long. Apple and Samsung are constantly “stealing” from each other, both hardware designs and software features. They seem to be in a perpetual state of court action against one another but we as consumers benefit from excellent tech and, perhaps most importantly, we get options. On a legal level, if something hasn’t been explicitly protected then it is fair game for use. Fair enough - if Gibson had defended their intellectual property from the start and people were using their designs I would agree with you @Al Krow, it would be theft. Gibson failed to do so. It’s their mistake. They should learn from it and move on with a view to improving themselves rather than trying to be corporate bullies and blaming other companies for their own shortcomings in the guitar industry.