atsampson

Works fine with a generic TOTP program too. If you click the "Not able to scan the QR code?" link it'll show you the TOTP secret in text.

I bought a natural V7 (this model) second-hand on here earlier this year... Good points: The woodwork is really nicely done - the body is a single piece of wood and looks very smart, and there are no sharp edges or finish problems. The neck pocket is nice and tight. The fretwork is similarly excellent and supports low action if you want it. The body and neck (which I'd say is "medium" Jazz depth, a bit deeper than my Tokai Jazz) are very comfortable in use. The pickups and preamp sound decent, with plenty of scope for adjustment, and it works in passive mode with no battery. There's a nice big truss rod adjustment cutout at the body end, and the truss rod adjustment is easy in both directions. The tuners are smooth and stable. The bridge is substantial and supports through-body and conventional stringing; it has threaded saddles which work fine and allow some horizontal adjustment. It's not a light body, but it balances very well on a strap or sitting down, and I've not noticed any dead spots or odd resonances. Bad points: Poor-quality screws. When I received mine, one of the bridge screws had already sheared off, another was bent and nearly snapped, and most of the scratchplate screws had mangled heads - I drilled out and plugged the sheared-off one, and replaced them all with better-quality screws. The way wires were soldered to the preamp was pretty messy (although the wiring itself is good quality), and I had a solder joint break mid-gig when the jack socket came loose and rotated - I remade all the joints to the preamp board, and replaced the very short wires to the socket with slightly longer ones. Having fixed the issues above and set it up to my usual spec, it's a nice instrument and I've just done a week of gigs with it. I'd say it was good value second hand if you budget in a day's setup/maintenance work. The new price feels a bit steep to me at the moment - the same amount would probably get you something nicer on the second-hand market. (If you don't mind a wider neck, I'd also look at the Yamaha BBs which are also nicely-made, with more modern construction, and in about the same price bracket.)

The value of Hammond organs varies by several orders of magnitude depending on the model. The one in the original post is a later fully electronic spinet organ - you might get £20 for one if you're lucky. The M3/M100/L100 spinet organs, which are in the same form factor but have a mechanical tone generator and valve electronics, go for a few hundred depending on condition and features. The T100 - mechanical tone generator but transistor electronics - is also worth looking at but you don't see many of them in the UK. The full-sized, full-featured A100/B3/C3 are worth a couple of thousand, more in good condition - bearing in mind that even the newest ones are 50+ years old now. That said, a lot of what people think of as the Hammond sound really comes from the Leslie's distortion and modulation, and even a cheap electronic organ sounds pretty convincing through a Leslie or a decent Leslie simulator... I went from an L100 + Leslie 2101 to a C3 + Leslie 122XB, and the latter is definitely better but it's not ten times better.

Bought a bass from Simon. Great communication, packed very well (with original box and receipt!) and shipped out the same day. Thanks very much!

Bought a couple of CDs from Mick - they were with me in a couple of days, carefully packed and in as-new condition. Very happy. Thanks very much!

You might have poly chain mode turned on? See section 4.9.3 in the manual.

As someone who does ethics and data protection review for research projects as part of my day job, the interface design here is stunningly bad. In order to not consent to tracking, you have to individually click on dozens of tiny checkboxes - realistically, nobody is going to do that, so this is not meaningful consent. You need to ask a clear yes/no question, not attempt to force users into agreeing with what you want. (And, realistically, I think it's very unlikely that you can actually meet UK/EU data protection requirements if you are "sharing" data with that many "partners" - there is no way to do meaningful review.)

That configuration reminds me of Mo Foster's Jazz and Precision. It does seem a bit of a shame to refret it if the neck's otherwise in good condition - there are plenty of fretted Precisions out there already...

It's a long shot, but I would be tempted to have a careful look at the electrolytic capacitors at the right-hand end of the preamp board. If the amp is 18 years old, then (a) they're most likely past their intended service lifetime and (b) they were originally fitted just after a time when some manufacturers were using a dodgy electrolyte formula that caused early failure. If, say, you've got a filter capacitor across the HT or LT supply that starts acting as a short circuit once it's warmed up a bit, that might explain the fault you're seeing...

Bought some IEMs from Chris. Very easy transaction - ordered on Friday evening and they arrived, carefully packaged and in as-new condition, first thing Monday morning! Thanks very much.

That's an IEC C14 ("kettle lead") socket with a built-in fuse holder - you can pull the plastic bit below the socket out to replace the fuse. That's what the note on it and the specs printed below are referring to. It says the amp's fuse is 315 mA (0.315 A) so any IEC lead will be fine. As BigRedX says, the fuse in the plug is only there to protect the cable - they usually come with a 13 A fuse which is much more than the amp will draw, and more than the 10 A the IEC connector is rated at.

Bought an effects pedal from Richard. Great communications, and the package arrived within a couple of days, very carefully wrapped and in perfect condition. Thanks very much!

The main out is a good option, but that mixer also has "tape out" and "tape in" connectors which are designed for this purpose - the tape out is the same as the main out, so it's not affected by soloing channels, etc., unlike the control room output, and the tape in lets you feed the output of the recorder back into the desk so you can play back the recordings. Another option is to use one of the stereo group outputs - this is useful if you want to exclude some channels from the recording (announcer's mic) or add extra ones that aren't in the PA mix (drum overheads), or if you need a gain control to avoid overloading the recorder's input.

No, that looks like a duff string to me - all four usually match. Here's a well-worn set of mine: