prowla

Nah - you need a second one! 🙂

A bigger cab?

Apologies - I previously conflated them as "remasters/remixes", but missed the 2nd part in my statement. 🙂 But yes, it would take a remix to, as you say. I think remasters give an opportunity to use better equipment to create the final product, maybe with less effects & adjustments in the (ahem) mix to get in the way of what comes out of the speakers. I've also picked up a few HD-audio tracks; they can be a (ahem) mixed bag too. FYI, I'm just in the process of auditioning a cable to connect my pre-amp to my power-amp; it's quite interesting. I'm not sure at what point someone changes from being an audiophile to being an audiophool, but if you can hear it then it doesn't matter whether someone else can't (or won't). (I'm a member of the Steve Hoffman forums.)

I do wish the Black Sabbath remasters had taken Ozzy a bit back in the mix and brought Bill Ward up a bit; all the recordings I've heard have the mix a bit wrong.

Well, some bands first/earlier recordings are their best, before the "engineers" and "producers" started dicking around. Led Zep 1, Black Sabbath 1, Deep Purple (3rd).

I've got some good remasters & remixes and some not so good. The Beatles Giles Martin ones are really good (though you can tell that Macca was involved and Ringo wasn't!). Steve Wilson does some good stuff, but sometimes he's hampered by whether the originals are available to work from (a couple of albums are missing bits). Rush ones can be variable - one of the albums was deliberately recorded to sound good on cheap radios and the information simply isn't there to get back. I think some of the remixes/remasters were done by people who've lost the upper ranges of their hearing, because they can be like sandpaper on the ears. It's all very much a mixed bag.

I thought they were moving the manufacturing?

I've come to the conclusion that eBay don't give a monkeys about counterfeits and, after arguing with them, being told by their "AI" that there's nothing wrong with obvious fakes, escalating, speaking to people, and so-on, I've lost faith in their service. The fact that they then started adding on a "buyer assurance" (or whatever they call their buyers fees) premium gives me no confidence that an issue with an item would be successfully resolved; either (a) their conclusions would be via the same system as their handling of counterfeit reports and yield the same results, or (b) they've downgraded that to deliberately create a premium "service". I've pretty much stopped using eBay.

I've got a 4-door saloon (the back seats fold down, so I can fit quite a lot in there), a toy car (2 seater with enough space for an overnight bag but that's about it), and tend to have scruffy cheapo (a spare if needed, for jobs to the tip, etc.).

Why have only one car?

£822.72 or Best Offer unlikely...

Casually dropping in the F-word.

They're two pairs with an intersection of one.

It's a real one.

My Jetglo says hi.

Bunged a few quid - hope it works out!

It is turning into a bit of a saga.

A gun case might be suitable - there are some large plastic rectangular box with a handle type ones.

Maybe not a complete tool - it's entirely possible that he is hacked off that he can't play a song because one note is unplayable. For illustration, my go-to bass developed a worn fret at E on the G-string, which meant I raised the action a bit but then found it less enjoyable to play and drifted towards another bass (try playing "Born To Be Wild" without that E!); it's now had a re-fret and normality is resumed. On the question of "compensation", whilst he's put effort & cost into collecting the instrument, but I don't think that is recoverable on his part, so the compensation question is unlikely going to get him anywhere. If I buy a pair of shoes and the soles fall off within a week I'll go and get a refund, but I won't expect them to also pay back my bus fare for both journeys there and back.

I've got it to augment the C4 synth pedal, as its paltry controls aren't sufficient to realistally do much with; effectively it's adding 6 buttons to the C4 (MC6 = MIDI Controller with 6 buttons). The C4 has a MIDI interface box but its connectors are non-standard so I connect them via an interface (a box with standard MIDI DIN connector on oneside and the C4's proprietary connector on the other) called a Neuro Hub which sits on the underside of the pedalboard (they now do a smaller interface called a MIDI Adapter). MIDI is quite straightforward: you can think of it as a simple network addressing system where: Every attached device has an address (called a channel, a number 1-16). Each attached device (could be a synth, a pedal, a lighting controller) has a pre-defined set of messages it can accept, such as keyboard notes, control-knob settings, selector switches on/off. You can send a value along with the message (a number 0-127), which could be the note on a keyboard, the value of a volume slider, a switch on/off, which effect setting to select. Typically synths allow you to save a setting of your choosing to one of 127 memories (eg. 0=moog sound, 1=80s synth bass, 2=the sound they used on that hit in the 90s, etc.); these are called "patches". A programmable MIDI Controller like the MC6 allows you to program each button to send one or more messages to a given MIDI channel (and set what's displayed on the LCD panel next to the button); typically these could be to choose a given sound you've configured on the synth (a "patch") or to step up/down through the patches. In my case I've programmed two of the buttons to send the messages to step up/down through the C4's patches. Note that the 16 channels and numbers 0-127 may seem limited; this is because MIDI is based on 1980s technology (ie. 8-bit computers). However, you can send multiple messages to the same unit, eg. play a piano sound at middle-C with vibrato at 50% volume (ie. that is 4 messages), so it really is quite powerful. Imagine you walked into a room with some kit and the producer said "play me a piano sound at middle-C with vibrato at 50% volume"; you'd press a few buttons, twiddle the Vol control, and hit a white key half way along the keyboard; curiously similar to what the MIDI controller would do. The manufacturers of each unit typically publish a list or table of the messages you can use to control its features; all you need to do is look up the sequence of commands you need to send to make the target device (eg. the C4) do what you want..

Cheers! With mine the Stomp supplementary switch is as wide as the gap you want to leave to the next pedal. Actually, for a Stomp, the two switches are just momentary press going to a TRS jack, so making one into a project enclosure (you can get good quality aluminium ones for a few quid) is a pretty simple job. The one I bought lights up too, so it's got that "essential" extra featurette... On my board the MicroBass 3 preamp is the hub and the switcher along the front just connects to its fx loop and switches the 4 supplementary pedals in/bypass at the touch of a button. That means you can switch out a pedal (eg. the Stomp), silently change its setting, and then switch it back in when ready.

My board has this one from NinjaFox.

And there y'go - there's no solution which suits everyone!

I think the comments here fall into the category of advice rather than criticism; everybody has to start somewhere. The key thing is knowing consumer law. As a buyer I'd typically go for the refund, so as to avoid a saga of follow-on remedial action(s). But offering the fix is a good starting position.