paul_5

Looks like it's a Marlin Sidewinder; a KB24 to be precise. Plywood body. Thanks to Andy for your keen eye.

Thanks Andy, looks very similar but the Arbour has 3 knobs in a linear arrangement, not the 4 knob 'diamond' pattern.

It's up to £16 on eBay at the moment, and I just wondered whether it would be worth a punt or not- I though it looked a bit 'Washburn'y, but could be wrong. [URL=http://s1221.photobucket.com/user/paul_510/media/PMM_zpsahum5l71.jpg.html][IMG]http://i1221.photobucket.com/albums/dd471/paul_510/PMM_zpsahum5l71.jpg[/IMG][/URL]

Oh my good god Terry!

I had one a while ago. It's not as 'warm' as the SVP Pro preamp that I was running at the same time (hence I sold my B2RE), but it was a lot lighter than lugging the SVP and a power amp around. I seem to recall it was a bit quiet when up against a full band too...

I've played it a few times and always got paid to do it; not got a problem with that.

My compressor (Aphex 1404) optical compressor is always on. I use it as a buffer for my pedalboard, clean DI out and finally a compressor set to 'tickle my peaks' by giving me 3 - 4dB gain reduction on my peaks. Lovely stuff. FWIW flatwound strings are what you want if you're looking to hide bad technique

So I've just fitted a set of Steve Harris signatures on there - even in drop D tuning I've had to tighten the truss rod slightly - god knows what the tension would be like at concert pitch.

Beater every time!

Jeez! There's no way on earth you could call that a practice rig! Nice though, and [i]definitely[/i] worth keeping. My rig lives elsewhere, as there's no room in the house for it with 2 little _5s running around. My 'Practice Rig' is a DHA VT1 DI-EQ; line in, headphone out, happy days.

KiOgon's right - Neutriks all the way; I'm still using a lead that I had made for me 23 years ago from Van Damme cable and Neutrik jacks. They're a little bit more extensive initially, but as the old saying goes "buy cheap, buy twice". Also (perhaps more importantly) you've got peace of mind that your kit isn't going to crap out and fall apart at any given moment.

Long day. Lots of waiting (wedding gig) to get going. Once we were up it was brilliant; literally the whole room was jumping up and down. DJ went missing at a critics point, so we had an extended jam at the end of Prince's 1999 (last song in the first set), but a brilliant gig. Got home at 2am

Thanks guys. I still need a bit of bite at the top end though, do the LaBellas have that? Also, It's a Jazz bass, so the pickups will probably help to give me a bit of 'snap'.

None for me! seriously though, 20 frets is fine, but occasionally I'd like to have that extra 'E' at the top. Very, very occasionally.

yeah, I'm kind of obsessed with getting the cleanest DI signal I can from any bit of kit. I spend a lot of time recording through various setups, and can't be doing with noise.

Secret option c) play your bass through a guitar amp (no restrictions on those, I believe); I've had great sounds out of an old Fender Deville... Seriously though, take whatever you need to get through the gig (IEMs, or even a DI box as a splitter to a headphone amp) and move on.

[quote name='Treb' timestamp='1468963386' post='3094796'] I've read that Steve W. Rabe is retired. So no more SWR gear to be expected from him, he probably may not be allowed to even use the SWR brand name anymore. I have a 1996 SWR Workingmans 12, still sounds great! I did modify it a bit. Replaced all the TL072 opamps with TLE2072's and replaced the two 4700uF PSU caps with 6800uF ones. Speaker-wise it's equiped with a Celestion K12T-200. [/quote] Ooh, I'd not thought of replacing the opamps; I've got a glut of Burr Brown OPA2134s in a drawer waiting for something special...

There's a really easy fix for the 'mid scoop' on the SWR heads - I did it to mine and have got a pretty much linear response across the preamp - makes it much louder too! If I need a 'mid scoop' I can just dial one in using the massively flexible EQ. Winner.

Reliability on the chord pedal is brilliant. They come in a cast metal case with heavy duty switch and controls. I've had a couple of chord pedals over the years (chorus and octave) and I've never had one fail. I was expecting a fairly flimsy plastic jobbie for the money, but was really surprised with the quality.

I second the Chord OC50 - I only sold mine because I'd built my own OC2 clone. Would I have one again? Definitely.

I'm still gigging a 92/93 SM400. It's had a tube replaced and that's about it. In over 20 years.

Does anyone have any experience of drop tuning (D, G, C, F) flatwounds? I'm tempted to just go up a gauge (currently 45 to 105) and see how that works, but if anyone's got any better suggestions then I'd be happy to hear them

I play every day. Some days it's 'the other' guitar, but most days it's bass. On the 6 stringer it's running through Jazz standards and experimenting with chord voicings, but on the bass it's mostly running through band material (NOT jazz!) Occasionally a bit of drums too, but that's more of a treat than 'practice'.

12AX7 is the American name for the British ECC83, just as 12AU7 is the 'murican for ECC82. I used to run mine with an ECC82 for less gain, but these days I'm back on ECC83s for a bit more filth. They are interchangeable in this particular pedal. FWIW I've never had a problem losing the D and G strings with it engaged either - do you still have this problem without the VT1 turned on?

[quote name='dmccombe7' timestamp='1467400929' post='3083517'] ...god quality pics... [/quote] I wouldn't go that far…