wateroftyne

Sounds like you might just need to hold on a little longer... from the horse's mouth: 'Musicians in Poland are also waiting for the R-400. The hold-up is the wooden box - it is difficult and time-consuming to do this. I asked the musicians what they thought about the version without a wooden box, and there was only one answer - everyone wants only in a wooden box. My plan is to finish the R-400 by mid-January.'

I’ve just bought the bits to make one up. I’ll report back once it’s done 🙂

Yeah, I’ll share the diagram for the adapter when I get it.

Absolutely - the DI itself sounds amazing. It's just very hot - much hotter than my R-400.

I absolutely love it! I'm about ten gigs in now. EQ-wise, I just leave it flat. Boom hasn't been a problem for me, but I use a Gramma pad and my cab (TKS 2x12) is pretty tight down low. That said, there is some I would change about it... the DI is very hot. Too hot for a couple of desks I've come across, and my Scarlett DI. I had to run the input gain barely on, which is a shame. Leszek's been very helpful and is sending me instructions on how to make a short adapter cable that has a couple of resistors or suchlike in it to tame the signal 🙂

Cheers, Dave - I ended up going with Roqsolid. Usually their covers drop over the top, but they made me a custom cajon-style case that you put the amp into, and zip up at the top (similar to yours, from the sound of it). Here it is... (A little tip for anyone thinking of doing the same... mine came with long stitched-on handles, which I don't need as I'll be carrying it by the amp handle. They'd just flap around and get on my nerves, so I carefully unpicked them and removed them. If I were to order again, I'd specify not to include them.)

It’s measured in smiles.

St. Nicholas' Cathedral, Newcastle. It was the post-covid return of a regular Christmas concert, which raises money for the Sir Bobby Robson foundation. 800-seats, all sold out. Quite a few different singers from Tyneside, including Lorraine Crosby (who sang the 'I Would Do Anything for Love (But I Won't Do That) with Meatloaf), Jill Halfpenny, and the Canon of Newcastle Cathedral who, it turns out, is an amazing jazz vocalist. I MD'd the show, which has its own challenges as we can't get all the artists in a room at the same time at any point beforehand. It also involves liaising with the choirmaster over the arrangements. One of the artists had to pull out on the morning of the show due to ill health, so we had to quickly find two other singers to cover his songs in the same key and arrangement... a stressful morning, but somehow we managed it. As usual we had a Rolls-Royce team in to do the PA - the acoustics are a nightmare for amplification, so we keep the stage and FOH volume down, and spread the boxes around the room. Here's a clip of one of the songs, sung by Aaron from local up-and-comers Hector Gannet. He was one of the last-minute replacements, who we asked to sing the song that morning. He nailed it. Here's some behind-the-scenes shots I took.

There’s magic in those early 70s neck profiles. I can’t really cope with anything else.

OK.

You seem to be narrowly focusing on bands that are part of the corporate machine. My posts are mainly referring to the swathes of cottage industry DIYers, who could previously invest in the recording and pressing of an an album, fairly confident that they would at least recoup their expenses (or even - shock, horror - make a small profit). Now, unless they have money to burn, that outlet has gone.

Can you hear it acoustically, or just via the pickup? If it's the latter, see above posts. If it's the former, it might be a badly cut nut, the string not low enough on the string tree, or a spring resonating in the bridge.

But - through no fault of the artists - the mechanism to pay for music once, and own it, doesn’t really exist as a going concern any more. Have you read the first post in this thread? Are you actually aware of the streaming phenomenon?

Again, relevant point emboldened.

Umm… we’re talking about recordings, not live performance.

Of course. And that’s absolutely your choice to make.

I’ve bolded(?) the relevant point below. …but I should also have added ‘and time’.

Which is still an option in 2022.

Because the musicians have paid money to make it, and someone is benefiting from it. Is it not obvious? This ‘Music is free’ line of thought is the reason we’re in this quandary.

It sort of doesn't. Back in the days before recorded music, if you wanted to hear music , what did you do? You got off your backside and headed to your nearest music hall to see a performance, and most likely pay for the privilege. Some of which went to the musicians. Now, you can just fire up your favourite streaming service directly from your warm settee. Virtually none of which goes to the musicians.

(...bass, that is)

I'm surprised you got a 69 for a reasonable price... well done.

Dare I suggest a lot of a certain generation are beginning to drop off the twig…?

A couple of bands I’m in have a pile of great unrecorded songs. If we put them to tape properly, we could no doubt recoup our costs if we were still in CD world. But we’re not, and we can’t afford to lose money, so they stay unrecorded. That. Is. A. Disgrace.

Hey gang - was just going to measure up for a Roqsolid cover for the WB-100, but I see they already have measurements on there.... three different ones 😄 Had anyone ordered one already who can confirm how good the fit is?